Tools for creating a character image. Techniques for creating the inner world of a character A means of characterizing a character based on a description of appearance

“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair.

“The main thing is now to have dinner and rest.”

“It’s really not bad to eat,” Bazarov remarked, stretching, and sank onto the sofa.

- Yes, yes, let's have dinner, have dinner quickly. – Nikolai Petrovich stamped his feet for no apparent reason.

- By the way, Prokofich. A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady's handle and, bowing to his guest, retreated to the door and put his hands behind his back.

“Here he is, Prokofich,” began Nikolai Petrovich, “he has finally come to us... What? how do you find it?

- IN in the best possible way, sir“, - said the old man and grinned again, but immediately frowned his thick eyebrows.

– Would you like to set the table? – he said impressively.

- Yes, yes, please. But won’t you go to your room first, Evgeny Vasilich?

- No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.

- Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your place for a minute?

“Yes, we need to clean ourselves,” Arkady answered and headed towards the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped White hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.

Pavel Petrovich took his trousers out of his pocket beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and handed it to his nephew. Having previously performed the European “shake hands”, he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”

Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.

“I already thought that you wouldn’t come today,” he said. in a pleasant voice, amiably swaying, shrugging his shoulders and showing his beautiful white teeth. - Did something happen on the road?

“Nothing happened,” answered Arkady, “so, we hesitated a little.”

I.S. Turgenev, “Fathers and Sons.”

Psychologism of the work
1. Naming technique. Title of the work. Talking names heroes
2. Acceptance of characteristics. Direct author's characterization, self-characterization of the hero, characterization by other characters
3. Method of description. Portrait.
4. Characteristics of the hero through his actions, deeds, demeanor, thoughts.
5. Speech features of the characters
6. Portrayal of the hero in the character system
7. Technique for using artistic details
8. Reception of images of nature (landscape) and the environment (interior)

The worst reproach an author can receive from a reader is that his characters are cardboard. This means: the author did not bother (or did not care enough) to create inner world character, which is why he turned out flat = one-dimensional.

To be fair, it should be noted that in some cases the hero does not need versatility. For example, in purely genre works- loveburger, detective, action - a villain and should only be a villain (cruelly sparkle his eyes, gnash his teeth and hatch dark plans), and virtue must triumph in everything - both in the appearance of the heroine, and in her thoughts, and in her habits.
But if the author is planning a serious thing, wants to hook the reader not only on an eventual, but also on an emotional level, it is impossible to do without elaborating the hero’s inner world.

This article describes the basic techniques that will allow you to transfer a hero from cardboard to a 3D model.

First, a little about PSYCHOLOGISM as a set of means used in a literary work to depict the inner world of a character, his thoughts, feelings, and experiences.

Methods of depicting a character’s inner world can be divided into images “from the outside” and images “from the inside.”
The image “from the inside” is carried out through internal monologue, memories, imagination, psychological introspection, dialogue with oneself, diaries, letters, dreams. In this case, first-person narration provides enormous opportunities.

The image “from the outside” is a description of the hero’s inner world not directly, but through external symptoms of a psychological state. The world surrounding a person shapes and reflects a person’s mood and influences a person’s actions and thoughts. These are details of everyday life, housing, clothing, and the surrounding nature. Facial expressions, gestures, speech to the listener, gait - all these are external manifestations inner life hero. In a way psychological analysis“from the outside” can be a portrait, detail, landscape, etc.

And now, actually, the techniques.

1. NAMING RECEPTION

Perhaps the simplest (meaning, the most obvious, lying on the surface) technique is NAMING.

NAME OF THE WORK

The title of the work itself may indicate the characteristics of the characters.
A classic example is “Hero of Our Time.”

The Hero of Our Time, my dear sirs, is certainly a portrait, but not of one person: it is a portrait made up of the vices of our entire generation, in their full development. You will tell me again that a person cannot be so bad, but I will tell you that if you believed in the possibility of the existence of all tragic and romantic villains, why don’t you believe in the reality of Pechorin? (Lermontov. Hero of our time)

SPEAKING NAMES OF HEROES

The technique can be used, as they say, head-on - as, for example, in classic Russian comedies. So, Fonvizin had Pravdin, Skotinin, Starodum. Griboedov has Molchalin, Skalozub.
The same technique can be used more cunningly - through associations and allusions.

For example, let’s take Gogol’s “The Overcoat”. The main character's name was Akaki Akakievich Bashmachkin. Let us remember how the author describes the history of the origin of the hero’s name.

Akaki Akakievich was born against the night, if memory serves, on March 23rd. The deceased mother, an official and very good woman, settled down to christen the child properly. Mother was still lying on the bed opposite the door, and right hand stood the godfather, a most excellent person, Ivan Ivanovich Eroshkin, who served as the head of the Senate, and the godfather, the wife of a quarterly officer, a woman of rare virtues, Arina Semyonovna Belobryushkova. The mother in labor was given the choice of any of the three, which one she wanted to choose: Mokkia, Sossia, or name the child in the name of the martyr Khozdazat. “No,” thought the deceased, “the names are all the same.” To please her, they turned the calendar in a different place; Three names came out again: Triphilius, Dula and Varakhasiy. “This is a punishment,” said the old woman, “what are all the names; I really have never heard of such ones. Let it be Varadat or Varukh, or else Triphilius and Varakhasiy.” They turned the page again and out came: Pavsikakhy and Vakhtisy. “Well, I already see,” said the old woman, “that, apparently, this is his fate. If so, let him be better called, like his father. The father was Akaki, so let the son be Akaki.” (Gogol. Overcoat)

This is what is called the top layer. Let's dig deeper.
The name “Akaky” translated from Greek means “not bad”, “humble”. Initially, Gogol gave him the surname “Tishkevich” - as if he doubled the characteristic feature of his hero. Then he changed his last name to “Bashmakevich” - apparently in order to awaken sentimental feelings. And when the story was finished, the hero already bore the surname Bashmachkin.
The combination of first and last name acquired a clear parody sound. Why was this necessary? And this was precisely the means of creating the character’s inner world. “Akaky Akakievich Bashmachnikov” - here the homeliness (absurdity?) of the hero is emphasized and - most importantly - in Gogol’s (= signature) style it becomes a sign of future tragic events.

Another example from the classics.
"Tatyana!...Dear Tatiana." For Pushkin's contemporaries, this name was associated with the appearance of a peasant woman.
Pushkin writes: “For the first time, with such a name, We willfully consecrate the tender pages of a novel.” By calling the heroine simple, the author thereby emphasizes the main characteristic feature- the naturalness of her nature - remember, “Tatiana, Russian in soul...”?

But in “Mazepa” Pushkin changes the name of the historical heroine. In fact, Kochubey’s daughter’s name was Matryona (from Latin “venerable”). But the simple Matryona clearly reduced the pathos, so they were replaced by the more sonorous Maria.

Playing with the names of the characters is a very promising technique that can even be developed into a separate storyline.

Pelevin. Generation "P"

Take, for example, the very name “Babylen”, which was awarded to Tatarsky by his father, who united in his soul the faith in communism and the ideals of the sixties. It was composed of the words “Vasily Aksenov” and “Vladimir Ilyich Lenin”. Tatarsky’s father, apparently, could easily imagine a faithful Leninist, gratefully comprehending over Aksenov’s free page that Marxism originally stood for free love, or a jazz-obsessed esthete, whom a particularly drawn-out saxophone roulade would suddenly make him understand that communism would win. But this was not only Tatarsky’s father - this was the entire Soviet generation of the fifties and sixties, which gave the world an amateur song and ended up in the black void of space as the first satellite - a four-tailed spermatozoon of a future that never came.
Tatarsky was very shy about his name, introducing himself whenever possible as Vova. Then he began to lie to his friends that his father called him that because he was interested in Eastern mysticism and meant ancient city Babylon, whose secret doctrine he, Babylen, was to inherit. And my father created the fusion of Aksenov with Lenin because he was a follower of Manichaeism and natural philosophy and considered himself obliged to balance the light principle with the dark one. Despite this brilliant development, at the age of eighteen Tatarsky happily lost his first passport, and received a second one for Vladimir.
After that, his life developed in the most ordinary way.
<…>
“Vladimir Tatarsky,” said Tatarsky, standing up and shaking his plump, limp hand.
“You are not Vladimir, but Vavilen,” said Azadovsky. - I know about it. Only I’m not Leonid. My dad was an asshole too. Do you know what he called me? Legion. I probably didn’t even know what this word meant. At first I was grieving too. But then I found out what was written about me in the Bible, and I calmed down.
<…>
Farseykin shrugged:
- The Great Goddess is tired of the misalliance.
- How do you know?
- At a sacred fortune telling in Atlanta, the oracle predicted that Ishtar would have a new husband. We had problems with Azadovsky for a long time, but for a long time we could not understand who this new guy was. All that was said about him was that he was a man with the name of the city. We thought and thought and searched, and then suddenly they brought it from the first department your personal case. By all accounts, it turns out that this is you.
- I???
Instead of answering, Farseikin made a sign to Sasha Blo and Malyuta. They approached Azadovsky’s body, took him by the legs and dragged him from the altar room to the locker room.
- I? - repeated Tatarsky. - But why me?
- Don't know. Ask yourself that. For some reason the goddess didn’t choose me. What would it sound like - a person who left a name...
- Who left his name?
- In general, I am from the Volga Germans. It’s just that when I graduated from university, an assignment from television came to a chock - a correspondent in Washington. And I was a Komsomol secretary, that is, first in line for America. So they changed my name at Lubyanka. However, it doesn't matter.

And another example of how, with the help of the hero’s name, the author emphasizes his character (and at the same time the idea of ​​the work)

K. M. Stanyukovich. Serge Ptichkin.
The hero of the story with all his might, without hesitation in choosing his means, tries to get to the top and make a career.

When the youth's former vague dreams began to take on more real shape, young man His last name began to irritate me even more.
And he often thought:
“Father should have been called Ptichkin! And how did the mother, a girl from an old noble family, decide to marry a man with the surname Ptichkin? What the hell is this name! Well, at least Korshunov, Yastrebov, Sorokin, Voronov, Vorobyov... even Ptitsyn, and then suddenly... Ptichkin! And when he dreamed of a future glorious career, these dreams were poisoned by the memory that he was... Mr. Ptichkin.
Even if he rendered some extraordinary services to the fatherland... like Bismarck... he would still never be made a count or prince.
“Prince Ptichkin... This is impossible!” – the young man repeated with anger at his last name.
True, he liked to explain on occasion (which he soon did with the Batishchevs) that the Ptichkin family was a very old noble family and that one of the ancestors, the Swedish knight Magnus, was nicknamed “Bird” for his extraordinary horse riding, back at the beginning of the 15th century moved from Sweden to Russia and, having married the Tatar princess Zuleika, laid the foundation for the Ptichkin family. But all these heraldic explanations, composed in addition in the fifth grade of the gymnasium, when they were studying Russian history, did little to console the noble descendant of the Swedish knight Bird.

In the end, the hero achieves what he wants - a prominent position, a million-dollar fortune, but...

In general, Serge Ptichkin is happy. He has a lovely apartment, carriages with rubber tires, excellent horses, a foolish wife in love, a very prominent career ahead...
There is only one thing that still torments him, and that is his last name.
- Ptichkin... Ptichkin! - he sometimes repeats with anger in his luxurious office. - And you had to be born with such a stupid surname!

2. RECEPTION – CHARACTERISTICS OF THE HERO

SELF-CHARACTERISTICS OF A HERO

I was twenty-five years old then,” N.N. began, things had been going on for a long time days gone by, as you can see. I had just broken free and went abroad, not in order to “finish my education,” as they used to say then, but I simply wanted to look at God’s world. I was healthy, young, cheerful, I had no money transferred, worries had not yet started - I lived without looking back, did what I wanted, prospered, in a word. It never occurred to me then that man is not a plant and cannot flourish for long. Youth eats gilded gingerbread, and thinks that this is their daily bread; and the time will come - and you’ll ask for some bread. But there is no need to talk about this.
I traveled without any purpose, without a plan; I stopped wherever I liked, and immediately went further as soon as I felt a desire to see new faces—namely, faces. I was occupied exclusively by people; I hated curious monuments, wonderful collections, the very sight of a footman aroused in me a feeling of melancholy and anger; I almost went crazy in Dresden's Grüne Gelb. Nature had an extraordinary effect on me, but I did not like its so-called beauties, extraordinary mountains, cliffs, waterfalls; I didn’t like her to get involved with me, to disturb me. But faces, living human faces - people’s speech, their movements, laughter - that’s what I couldn’t do without. In the crowd I always felt especially at ease and joyful; I had fun going where others went, screaming when others screamed, and at the same time I loved watching those others scream. It amused me to watch people... but I didn’t even watch them - I looked at them with some kind of joyful and insatiable curiosity. (Turgenev. Asya)

CHARACTERISTICS OF THE HERO BY OTHER CHARACTERS

I tried to explain to Captain Bruno why all this surprised me, and he was silent for a minute or two.
“It’s not surprising,” he said at last, “that I was kind to Strickland, because we, although we perhaps did not suspect it, had common aspirations.”
- What, pray tell, could there be a common desire for such different people as you and Strickland? - I asked, smiling.
- Beauty.
“The concept is quite broad,” I muttered.
- You know that people obsessed with love become blind and deaf to everything in the world except their love. They are no more their own, like slaves chained to benches on a galley. Strickland was possessed by a passion that tyrannized him no less than love.
- How strange that you say that! - I exclaimed. “I have long thought that Strickland was possessed by a demon.”
- His passion was to create beauty. She gave him no peace. She was driven from country to country. The demon in him was merciless - and Strickland became an eternal wanderer, tormented by divine nostalgia. There are people who thirst for truth so passionately that they are ready to shake the foundations of the world just to achieve it. Strickland was like that, only truth was replaced by beauty. I felt only deep compassion for him.
- And this is also strange. A man whom Strickland had brutally insulted once told me that he felt deep pity for him. - I was silent for a bit. “Have you really found an explanation for a man who always seemed incomprehensible to me?” How did you come up with this idea?
He turned to me with a smile.
“Didn’t I tell you that I, in my own way, was an artist?” I was consumed by the same desire as Strickland. But for him the means of expression was painting, and for me life itself. (Maugham. Moon and penny)

3. RECEPTION – DESCRIPTION OF THE HERO (PORTRAIT)

Literary portrait - artistic image the character’s appearance: face, figure, clothes, demeanor, etc.

Portraits of characters can be detailed, detailed, or fragmentary and incomplete; can be presented immediately in the exposition or when the character is first introduced into the plot, or gradually, with the unfolding of the plot using expressive details.

Types of portraits:

Naturalistic (portrait copied from a real person)

Many subsequently said that Chekhov had Blue eyes. This is a mistake, but a mistake strangely common to everyone who knew him. His eyes were dark, almost brown, and the rim of his right eye was much more colored, which gave A.P.’s gaze, with some turns of his head, an expression of absent-mindedness. The upper eyelids hung somewhat over the eyes, which is so often observed among artists, hunters, sailors - in a word, among people with concentrated vision. Thanks to his pince-nez and his manner of looking through the bottom of his glasses, raising his head slightly upward, the face of A.P. often seemed harsh. But it was necessary to see Chekhov in other moments (alas, so rare in last years), when he was overcome by merriment and when, with a quick movement of his hand, he threw off his pince-nez and rocked back and forth in his chair, bursting into a sweet, sincere and deep laugh. Then his eyes became semicircular and radiant, with kind wrinkles at the outer corners, and his entire appearance then resembled that youthful famous portrait, where he is depicted almost beardless, with a smiling, myopic and naive look, somewhat from under his brows. And now - amazingly - every time I look at this photograph, I cannot get rid of the thought that Chekhov’s eyes were really blue. (Kuprin. In memory of Chekhov)

Psychological (the hero’s inner world and character are revealed through the hero’s appearance)

Idealizing or grotesque (spectacular and vivid, replete with metaphors, comparisons, epithets)

In general, for all authors, the appearance of the characters has always been fundamental to understanding their character. Depending on the traditions, features of the literary movement, the norms of the corresponding genre, individual style, the authors present it differently portrait descriptions characters, paying more or less attention to their appearance.
However, there are authors for whom appearance is the starting point for creating images - as, for example, for Dickens.

With amazing farsightedness, he distinguished small external signs; his gaze, without missing anything, captured, like a good camera lens, movements and gestures in a hundredth of a second. Nothing escaped him... He reflected the object not in its natural proportions, like an ordinary mirror, but like a concave mirror, exaggerating character traits. Dickens always emphasizes the idiosyncratic characteristics of his characters - not limiting himself to an objective image, he exaggerates and creates caricatures. He strengthens them and elevates them into a symbol. The portly Pickwick personifies spiritual gentleness, the skinny Jingle - callousness, the evil one turns into Satan, the good one - into perfection incarnate. His psychology begins with the visible, he characterizes a person through purely external manifestations, of course through the most insignificant and subtle, visible only to the keen eye of the writer... He notices the smallest, completely material manifestations of spiritual life and through them, with the help of his wonderful caricature optics, visually reveals the whole character. (c) Stefan Zweig.

4. CHARACTERISTICS OF THE HERO THROUGH HIS ACTIONS, DEEDS, BEHAVIOR, THOUGHTS

The main means of creating character is the PICTURE OF THE CHARACTER'S ACTIONS.
The comparison of the character’s internal experiences and his actions works well here. A classic example is Dostoevsky's Crime and Punishment.

5. As a separate technique for recreating the inner world of a character, one can highlight his SPEECH FEATURES.

Socrates has good saying: “Speak so that I can see you.”
The speech of a Persian characterizes him in the best possible way, reveals his inclinations and preferences.

6. Also, as a separate technique, one can highlight the PICTURE OF THE HERO IN THE SYSTEM OF CHARACTERS.

The hero does not hang in a vacuum - he is surrounded by other Persians (supporters, opponents, neutrals). Reflected in their remarks, assessments, actions, etc., the hero acquires additional dimensionality. In principle, this technique is similar to No. 4 and No. 2 (characterization of the hero by other characters).
By comparing with other characters (and contrasting them!), the author has the opportunity to immerse the reader even deeper into the inner world of his hero.

8. HOW TO USE ART DETAILS

Let me remind you that an artistic detail is a detail that the author has endowed with a special semantic and emotional load.
The inner world of the hero as a whole and/or at a specific moment can be shown with the help of everyday details that can correspond or, conversely, sharply contradict psychological state hero.

So, everyday life can absorb the hero - a series of landowners in “ Dead souls"or the same "Jumping Girl" by Chekhov.
Olga Ivanovna “in the living room she hung all the walls entirely with her own and other people’s sketches, framed and unframed, and near the piano and furniture she arranged a beautiful crowd of Chinese umbrellas, easels, colorful rags, daggers, busts, photographs”; in the dining room she “pasted the walls popular prints, hung up bast shoes and sickles, put scythes and rakes in the corner, and it turned out to be a dining room in Russian taste.” In the bedroom, “to make it look like a cave, she draped the ceiling and walls with dark cloth, hung a Venetian lantern over the beds, and placed a figure with a halberd at the door.”

Note the deliberately long chain of details. The goal is not to depict the picture\ background\ circumstances of the heroine’s life, but to immediately show the prevailing traits of her character - vanity, pettiness, imaginary aristocracy. No wonder Chekhov “finishes off” the heroine, describing how, due to a lack of money and a desire to show off, Olga Ivanovna and her dressmaker show miracles of ingenuity - “From an old repainted dress, from worthless pieces of tulle, lace, plush and silk, they simply came out miracles, something charming, not a dress, but a dream.”

But in Bulgakov’s “The White Guard” the details of everyday life take on a completely different meaning. Things in the world of heroes are spiritualized, become symbols of the eternal - “The watch, fortunately, is completely immortal, the Saardam carpenter is immortal, and the Dutch tile, like a wise rock, is life-giving and hot in the most difficult times” (c)

“The main thing is to find the detail... it will illuminate the characters for you, from them you will go, and both the plot and thoughts will grow. From details to characters. From characters to generalizations and ideas” (c) M. Gorky in a letter to A. Afinogenov.

9. RECEPTION OF DEPRESENTATION OF THE ENVIRONMENT IN THE CHARACTER’S LIFE

The image of nature (landscape) and the environment (interior) are indirect characteristics of the character’s inner world and character.

Above there was only the sky and the cloud in its center, looking like a slightly smiling flat face with closed eyes. And below for a long time there was nothing but fog, and when it finally cleared, Marina was so tired that she could barely stay in the air. From above, not many traces of civilization were visible: several concrete piers, boardwalks over the beach, boarding house buildings and houses on distant slopes. Still visible was the antenna bowl looking up at the top of the hill and a trailer standing next to it, one of those trailers that are called by the fancy word “cabin.” The trailer and the antenna were closest to the sky from which Marina was slowly descending, and she saw that the antenna was rusty and old, the door of the trailer was boarded up crosswise, and the glass in its window was broken. There was an air of sadness from all this, but the wind carried Marina past, and she immediately forgot about what she had seen. Having spread her translucent wings, she made a farewell circle in the air, took one last look at the endless blue above her head and began to choose a place to land.
<…>
The first object she encountered in her new world turned out to be a large plywood board, where the unfulfilled Soviet future and its beautiful inhabitants were drawn. Marina stared for a minute at their faded Nordic faces, above which hung cheesecakes that looked like cheesecakes from “The Book.” about tasty and healthy food" space stations, and then turned her gaze to the poster that covered half the stand, handwritten on whatman paper with a wide poster pen:
<…>
The last clumps of fog were shaking in the bushes behind the poster, but the sky overhead was already clear, and the sun was shining with all its might. At the end of the embankment there was a bridge over a sewage stream flowing into the sea, and behind it there was a stall from which music could be heard - exactly the kind that should be playing on a summer morning over the beach. To the right of Marina, on a bench in front of the shower pavilion, an old man with a mane of yellowish-gray hair was dozing, and a few meters to the left, near a scale that looked like a small white gallows, a woman in a medical gown was waiting for clients.
<…>
The world around was beautiful. But what exactly this beauty consisted of was difficult to say: in the objects that made up the world - in trees, benches, clouds, passers-by - there seemed to be nothing special, but everything together formed a clear promise of happiness, an honest word that gave life for some unknown reason. Marina heard a question inside her, expressed not in words, but in some other way, but which undoubtedly meant:
“What do you want, Marina?”
And Marina, after thinking, answered something cunning, also inexpressible in words, but she put all the stubborn hope of her young body into this answer.
“These are the songs,” she whispered, took a deep breath of the sea-scented air and walked along the embankment towards the shining day. (Pelevin. Life of insects)

Creating the inner world of a character is a rather painstaking process. Write quickly good story No one succeeded, not even the very luminaries.

A good work differs from a bad one by carefully thinking through the details, which ultimately come together into a single whole.

Try and think it over, I mean. Right now, without leaving the monitor, analyze the thing you are writing at the moment.

Follow the steps in this article.

Did you connect the description of the hero’s appearance with his character?

Did you allow the reader to look at the hero through his eyes? minor characters?

Were they given the floor to evaluate the actions/character traits of the heroes?

What function do descriptions serve in your text? (only allow the reader to navigate the area or harmonize/contrast with the emotional state of the hero)

Something like this))

© Copyright: Copyright Competition -K2, 2014
Certificate of publication No. 214060102041

Techniques for creating images - characters :

External features of the character portrait

Character portrait – internal, psychological

Character character - description of character traits, personality traits, affections, likes and dislikes, beliefs, ideals of the character

In the plot system - through the actions of the character

Depiction of nature in the character's life

Depiction of the social environment, society, era in which the character lives

Description of the character’s close surroundings, his living conditions, his room, house, street, etc.

Psychological analysis of the character’s life, his thoughts, feelings, experiences and actions

Linguistic characteristics of the character – his own artistic speech

Characterization of the character by other characters

An artistic detail as a symbolic characteristic of the essence of a character, his internal state at the moment or constantly

Techniques for creating a character portrait:

Portrait – description (external features) (Lensky in “Eugene Onegin”)

Portrait – comparison (comparison with other characters or with literary stereotypes) (Tatiana and Olga in “Eugene Onegin”)

The portrait is laconic, brief (Phoebus in “Notre Dame in Paris”)

Portrait detailed and detailed (Don Quixote and Sancho Panza)

Psychological portrait (Pechorin in “Hero of Our Time”)

Static portrait - without development or change, with constant static details (portraits of landowners in “Dead Souls”)

A dynamic portrait is an image of a character in development, in all his changes over time (the image of Natasha Rostova)

Types of images - characters:

An image - a character or an actor - these images are neutral, equal, they are like everyone else, like any of us

Literary character is a set of mental, emotional, effective-practical and physical qualities of a person, collected in one image of a person in a literary work

A type, or typical character, is an image in individual form which reveals the essence or essential features of any phenomenon, time, social group, people, etc.

A hero is only a positive typical character

Techniques for creating an interior and its functions:

Interior as a way to characterize a character (furniture in Sobakevich’s house)

Interior as a setting (Dickens' Oliver Twist)

Interior as a way to influence events (Raskolnikov’s room)

Interior as a characteristic of the character’s social status (wealth, poverty, aristocracy, plebeianism, education, ignorance, etc.) - the image of Raskolnikov

Interior as a characteristic of a character's character traits (independence, imitation, pretense, taste, bad taste, practicality, neatness, impracticality, laziness, etc.) - the image of Oblomov, Jourdain

Interior as a characteristic of the character’s sphere of interests, profession and activities (profession, love of reading, efficiency, etc.) - the image of the doctor Ionych

Techniques for creating a landscape and its functions:

A landscape is a picture of nature that has a variety of artistic meaning depending on the author’s objectives, his style and creative method.

Types of landscapes:

Lyrical landscape of mood - expresses the state of mind of the characters or the author (Gogol, Tolstoy)

Self-valuable landscape - expresses a detailed description of the nature in which the actions take place (Fenimore Cooper, Stevenson, Jules Verne)

Fictional landscape - emphasizes the fantastic nature of the story and events (Stanislaw Lem, Tolkien)

Symbolic landscape – expresses subtext and underlying associations (the fog in Scarlett O-Hara’s dreams)

Landscape, necessary for the development of events and playing an important role in them (“Robinson Crusoe”, Austerlitz’s sky in “War and Peace”)

Find and write out examples of different types of extra-plot elements -NB compositions in literature - from any literary works of the school curriculum.

Write out examples of different types of interior and landscape creation -NB in literature - from any literary works of the school curriculum.

Conclusion of the lecture: plot and composition are the most important elements constructing and filling the content of a literary work, different shapes The interconnectedness of plot and composition determines different concepts of the integrity of a literary work.

The examination paper on literature consists of 3 parts.

• Part 1 includes an analysis of a fragment of an epic, or lyric epic, or dramatic work: 7 short-answer tasks (B1-B7), requiring the writing of a word, or a combination of words, or a sequence of numbers, and 2 tasks with a detailed answer (C1-C2) , in the amount of 5-10 sentences.
• Part 2 includes analysis lyrical work: 5 tasks with a short answer (B8-B12) and 2 tasks with a detailed answer in the amount of 5-10 sentences (C3-C4). When completing tasks C1-C4, try to formulate a direct, coherent answer to the question posed, avoiding lengthy introductions and characteristics, observing the norms of speech. The indication of the volume of detailed answers in parts 1 and 2 is conditional; The assessment of the answer depends on its content.
• Part 3 includes 3 tasks, from which you need to choose only ONE and give a detailed, reasoned answer to it in the genre of an essay on literary theme of at least 200 words.

When completing tasks with a detailed answer, rely on author's position, formulate your point of view, use theoretical and literary concepts to analyze the work.

The duration of the Unified State Examination in literature is 4 hours (240 minutes). We recommend spending no more than 2 hours to complete the tasks of parts 1 and 2, and 2 hours for part 3.

Answers on Unified State Exam forms are written clearly and legibly in bright black ink. You can use gel, capillary or fountain pens.

When completing assignments, you can use a draft, but the entries in it will not be taken into account when grading the work.

We advise you to complete the tasks in the order in which they are given. To save time, skip a task that you cannot complete immediately and move on to the next one. If you have time left after completing all the work, you can return to the missed tasks.

The points you receive for completed tasks are summed up. Try to complete as many tasks as possible and gain greatest number points.

Part 1

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.
“It’s really not bad to eat,” Bazarov remarked, stretching, and sank down onto the sofa.
- Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady's handle and, bowing to his guest, retreated to the door and put his hands behind his back.
“Here he is, Prokofich,” began Nikolai Petrovich, “he has finally come to us... What? how do you find it?
“In the best possible way, sir,” said the old man and grinned again, but immediately frowned his thick eyebrows. - Would you like to set the table? - he said impressively.
- Yes, yes, please. But won’t you go to your room first, Evgeny Vasilich?
- No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.
- Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your room for a minute?
“Yes, we need to clean ourselves,” answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took his beautiful hand with long pink nails from the pocket of his trousers - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and gave it to his nephew. Having previously performed the European “shake hands”, he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.
“I already thought that you wouldn’t come today,” he spoke in a pleasant voice, swaying courteously, twitching his shoulders and showing his beautiful white teeth. - Did something happen on the road?
“Nothing happened,” answered Arkady, “so, we hesitated a little.”

(I.S. Turgenev, “Fathers and Sons.”)

The answer to tasks B1-B7 is a word, or a phrase, or a sequence of numbers. Enter the answers first into the text of the work, and then transfer them to answer form No. 1 to the right of the number of the corresponding task, starting from the first cell, without spaces, commas or other additional characters. Write each letter (number) in a separate box in accordance with the samples given in the form.

Q1 Name literary direction, in line with which the work of I.S. developed. Turgenev and whose principles were embodied in “Fathers and Sons”.

Q2 What genre does the work of I.S. belong to? Turgenev "Fathers and Sons"?

Answer: ___________________________.

Q3 What is the name of a means of characterizing a character that is based on a description of his appearance (“He looked about forty-five years old...”)?

Answer: ___________________________.

Q4 Establish a correspondence between the characters appearing in this fragment and their future fate.
For each position in the first column, select the corresponding position from the second column.

Write down your answer in numbers in the table and transfer it to answer form No. 1.

Q5 What is it called? significant detail, which is a means artistic characteristics(for example, the Bazarovsky robe and the English suite of Pavel Petrovich, noted by the author)?

Answer: ___________________________.

B6 Senior Kirsanov and Bazarov are presented in opposition from the first pages of the work. What is the name of the technique of sharp opposition used in work of art?

Answer: ___________________________.

Q7 At the beginning of the above fragment, the characters communicate with each other, exchanging remarks. What is the name of this type speeches?

Answer: ___________________________.

To complete tasks C1 and C2, use answer form No. 2. First write down the task number, and then give a direct, coherent answer to the question (approximate volume - 5-10 sentences).
Rely on the author’s position and, if necessary, express your point of view. Justify your answer based on the text of the work.
When completing task C2, give at least two comparison positions (a comparison position is considered to indicate the author and title of the work of art with the obligatory justification for your choice; you can give two works of the same author as comparison positions, with the exception of the author whose work is considered in the task).

C1 How is the main conflict of the work outlined in this episode of Fathers and Sons?

C2 Which works of Russian classics depict the conflict between representatives of different generations, and in what ways can these works be compared with Turgenev’s “Fathers and Sons”?

Part 2

Read the work below and complete tasks B8-B12; C3, C4.

Again, like in the golden years,
Three worn out harnesses flutter,
And the painted knitting needles knit
Into loose ruts...

Russia, poor Russia,
I want your gray huts,
Your songs are windy to me -
Like the first tears of love!

I don't know how to feel sorry for you
And I carefully carry my cross...
Which sorcerer do you want?
Give me your robber beauty!

Let him lure and deceive, -
You won’t be lost, you won’t perish,
And only care will cloud
Your beautiful features...

Well? One more concern -
The river is noisier with one tear,
And you are still the same - forest and field,
Yes, the patterned board goes up to the eyebrows...

And the impossible is possible
The long road is easy
When the road flashes in the distance
An instant glance from under a scarf,
When it rings with guarded melancholy
The dull song of the coachman!..

(A.A. Blok, 1908)

The answer to tasks B8-B12 is a word, or a phrase, or a sequence of numbers. Enter the answers first into the text of the work, and then transfer them to answer form No. 1 to the right of the number of the corresponding task, starting from the first cell, without spaces, commas or other additional characters. Write each letter (number) in a separate box in accordance with the samples given in the form.

AT 8 Name the modernist poetic movement of the early 20th century, one of the prominent representatives of which was A.A. Block.

Answer: ___________________________.

AT 9 Indicate the stanza number (ordinal number in nominative case), in which the poet uses anaphora.

Answer: ___________________________.

AT 10 Indicate the technique the author resorts to in the lines:

I want your gray huts,
Your songs are windy to me -
Like the first tears of love!

Answer: ___________________________.

AT 11 Select three titles from the list below artistic means and the techniques used by the poet in the fourth stanza of this poem.

1) hyperbole
2) inversion
3) irony
4) epithet
5) sound recording

Enter the corresponding numbers in the table in ascending order and transfer them to answer form No. 1.

AT 12 Indicate the size in which A.A.’s poem is written. Block “Russia” (without indicating the number of stops).

Answer: ___________________________.

To complete tasks C3 and C4, use answer form No. 2.
First write down the number of the task, and then give a direct, coherent answer to the question (approximate volume - 5-10 sentences).
Rely on the author’s position and, if necessary, express your point of view. Justify your answer based on the text of the work. When completing task C4, give at least two comparison positions (a comparison position is considered to indicate the author and title of the work of art with the obligatory justification for your choice; you can give two works of the same author as comparison positions, with the exception of the author whose work is considered in the task).
Write down your answers clearly and legibly, observing the norms of speech.

C3 What feeling is imbued with the poet’s appeal to Russia?

C4 In what works of Russian poets is the image of Russia created and what are their similarities and differences with the poem by A.A. Blok?

Part 3

To complete the task of part 3, choose only ONE of the proposed essay topics (C5.1, C5.2, C5.3).
In answer form No. 2, indicate the number of the topic you have chosen, and then write an essay on this topic in a volume of at least 200 words (if the essay is less than 150 words, then it is scored 0 points).
Rely on the author's position and formulate your point of view. Argument your theses based on literary works(in an essay on lyricism, it is necessary to analyze at least three poems).
Use literary theoretical concepts to analyze the work.
Think over the composition of your essay.
Write your essay clearly and legibly, observing the norms of speech.

C5.1 As in the poem by M.Yu. Lermontov's "Mtsyri" reflects the clash of dreams with reality?

C5.2 What is the meaning of comparing the images of Katerina and Varvara? (Based on the play “The Thunderstorm” by A.N. Ostrovsky.)

C5.3 As in the prose of M.A. Bulgakov's theme is revealed moral choice person? (Based on the novel " White Guard"or "The Master and Margarita".)

Evaluation system for examination work in literature

For the correct answer to tasks B1-B12, 1 point is given, for an incorrect answer or no answer - 0 points.

Answers to tasks B1-B12

Criteria for checking and assessing the completion of tasks with a detailed answer

Assessment of the completion of tasks C1 and C3, which require writing a detailed answer in the amount of 5-10 sentences

The indication of volume is conditional; the assessment of the answer depends on its content (if the examinee has deep knowledge, he can answer in a larger volume; with the ability to accurately formulate his thoughts, the examinee can answer quite fully in a smaller volume).

*It is acceptable to indicate two works by the same author, with the exception of the author whose work is considered in the assignment.

Assessment of the completion of tasks C5.1, C5.2, C5.3,
requiring writing a detailed, reasoned answer in the genre
essays of at least 200 words

Among the five criteria by which an essay is assessed, the first criterion (content aspect) is the main one. If, when checking the work, the expert gives 0 points according to the first criterion, the task of part 3 is considered unfulfilled and is not checked further. For four others (2, 3, 4, 5) in the “Protocol for checking answers to tasks” of form No. 2, 0 points are assigned.

The score for the first position of the assessment of the assignment of part 3 is put in column 7 of the protocol, for the second position - in column 8, for the third - in column 9, for the fourth - in column 10, for the fifth - in column 11.

When assessing the completion of tasks in Part 3, you should take into account the volume of the written essay. A minimum length of 200 words is recommended for examinees. If the essay contains less than 150 words (the word count includes all words, including function words), then such work is considered incomplete and is scored 0 points.

When the essay is from 150 to 200 words, the maximum number of errors for each point level does not change.

1. Portrait- image of the hero’s appearance. As noted, this is one of the techniques for character individualization. Through a portrait, the writer often reveals the inner world of the hero, the features of his character. In literature, there are two types of portraits - unfolded and torn. The first is a detailed description of the hero’s appearance (Gogol, Turgenev, Goncharov, etc.), the second, as the character develops, the characteristic details of the portrait are highlighted (L. Tolstoy, etc.). L. Tolstoy categorically objected to a detailed description, considering it static and unmemorable. Meanwhile, creative practice confirms the effectiveness of this form of portraiture. Sometimes an idea of ​​the hero’s external appearance is created without portrait sketches, but with the help of a deep disclosure of the hero’s inner world, when the reader, as it were, completes the picture himself. “So, in Pushkin’s romance “Eugene Onegin” nothing is said about the color of the eyes or stripes of Onegin and Tatiana, but the reader imagines them as alive.

2. Actions. As in life, the character of a hero is revealed primarily in what he does, in his actions. The plot of the work is a chain of events in which the characters' characters are revealed. A person is judged not by what he says about himself, but by his behavior.

3. Individualization of speech. This is also one of the most important means of revealing the character of the hero, since in speech a person fully reveals himself. In ancient times there was an aphorism: “Speak so that I can see you.” The speech gives an idea of social status the hero, about his character, education, profession, temperament and much more. The talent of a prose writer is determined by the ability to reveal the hero through his speech. All Russian classic writers are distinguished by the art of individualizing the speech of characters.

4. Biography of the hero. In a work of fiction, the hero’s life is depicted, as a rule, over a certain period. The writer often brings up the day to reveal the origins of certain character traits) biographical information related to his past. Thus, in I. Goncharov’s novel “Oblomov” there is a chapter “Oblomov’s Dream,” which tells about the hero’s childhood, and it becomes clear to the reader why Ilya Ilyich grew up lazy and completely unadapted to life. Biographical information important for understanding Chichikov’s character is given by N. Gogol in the novel “ Dead Souls».

5. Author's description . The author of the work acts as an omniscient commentator. He comments not only on events, but also on what is happening in the spiritual world of the heroes. The author of a dramatic work cannot use this means, since his direct presence does not correspond to the peculiarities of dramaturgy (his stage directions are partially fulfilled).

6. Characterization of the hero by others actors . This tool is widely used by writers.

7. Hero's worldview. Each person has his own view of the world, his own attitude towards life and people, so the writer, to complete the characterization of the hero, illuminates his worldview. A typical example is Bazarov in I. Turgenev’s novel “Fathers and Sons,” expressing his nihilistic views.

8. Habits, manners. Each person has his own habits and manners that shed light on his personal qualities. The habit of teacher Belikov from A. Chekhov’s story “The Man in a Case” to carry an umbrella and galoshes in any weather, guided by the principle “no matter what happens,” characterizes him as a hardened conservative.

9. The hero's attitude towards nature. By how a person relates to nature, to “our smaller brothers” animals, one can judge his character, his humanistic essence. For Bazarov, nature is “not a temple, but a workshop, and a person is a worker.” The peasant Kalinich has a different attitude towards nature (“Khor and Kalinich” by I. Turgenev).

10. Property characteristics. The caves surrounding a person give an idea of ​​his material wealth, profession, aesthetic taste and much more. Therefore, writers widely use this tool, attaching great importance to the so-called artistic details. So, in the living room of landowner Manilov (“Dead Souls” by N. Gogol), the furniture has been standing unpacked for several years, and on the table there is a book, open for the same number of years on page 14.

11.Psychological analysis tools: dreams, letters, diaries, revealing the hero’s inner world. Tatyana's dream, letters from Tatyana and Onegin in A.S. Pushkin's novel “Eugene Onegin” help the reader understand the inner state of the characters.

12. Meaningful (creative) surname. Often, to characterize characters, writers use surnames or given names that correspond to the essence of their characters. Great masters such surnames were created in Russian literature by N. Gogol, M. Saltykov-Shchedrin, A. Chekhov. Many of these surnames became household names: Derzhimorda, Prishibeev, Derunov, etc.