Prototype(from the Greek protótypon - prototype), a real person, the idea of which served as the basis for the writer when creating literary type, the image of a person - the hero of the work.
The image of a person not only reproduces individual features of the prototype, not only reflects the type of personality generated by the era: it is the realization of a new personality acquiring independent existence. This explains his ability to become a “prototype” of a special breed of people in life itself (“Turgenev’s women”) or a prototype for the works of another era (the image of Griboyedov’s Molchalin in the works of M. E. Saltykov-Shchedrin).
Directions and genres can influence the role of the prototype. The maximum “alignment” with the prototype is in “documentary prose”; however, even here there remains a meaningful difference between the hero and the prototype, revealing the “personal” point of view of the author (for example, “How the Steel Was Tempered” by N. Ostrovsky or the sketch stories of A. Yashin, E. Dorosh, etc.).
The value of researching a prototype depends on its nature. The more striking a phenomenon of society and history a prototype is, the more meaningful its study and comparison with the image becomes, since the result is a reflection in art of an extremely important, meaningful, typical phenomenon of society.
The prototype can be not only real personalities, but also characters from other works.
Prototype in children's literature
In children's literature, it is a common situation when the prototype is a child to whom a story is told (as if about him). Lewis Carroll told the story of Alice in Wonderland, riding in a boat with Alice Liddell, James Barry told tales about the little namesake Peter Pan to his older brothers, in the same way Christopher Robin became a character in Alexander Milne's fairy tales, and Kira Bulychev's daughter became Alisa Selezneva. It is obvious that such heroes do not so much transfer the traits of a real child, but rather concentrate the desired traits. But the name, on the contrary, always remains real.
Examples of hero prototypes
- The prototype of the hero of the film “Only “old men” go into battle” by the commander of the guard squadron, Captain Alexei Titarenko (“Maestro”) - Hero of the Soviet Union Vitaly Popkov (1922-2010).
- The prototype of the hero of the film “Shield and Sword” by Johann Weiss is the Soviet intelligence officer Alexander Svyatogorov (1913-2008).
- The prototype of the hero of the book and film "Deniska's Stories" Denis - Denis Dragunsky, son of a Soviet children's writer Victor Dragunsky.
- The prototype of the hero of “The Tale of a Real Man” is Hero of the Soviet Union Alexei Maresyev (1916-2001).
- The prototype of the hero of the song “Combat” performed by the group “Lube” is Hero of the Soviet Union Valery Vostrotin (born November 20, 1952).
- The prototype of the hero of K. M. Simonov's poem "Lieutenant Petrov" ("Lyonki") is Lieutenant I. A. Loskutov (1918-1994).
- Possible prototypes of the hero of the novel by Yulian Semyonov “Seventeen Moments of Spring” and the legendary serial Soviet feature television film “Seventeen Moments of Spring” by SS Standartenführer Stirlitz are Soviet intelligence officers Yakov Blyumkin (1900-1929), Alexander Korotkov (1909-1961), Isai Borovoy, Anatoly Gurevich, Norman Borodin (1911-1974), as well as Gestapo officer, SS Hauptsturmführer and criminal inspector Willy Lehmann (1884-1942).
- The prototype of the hero of the novel by Alexandre Dumas "The Three Musketeers" Chevalier d'Artagnan is Charles Ogier de Batz de Castelmore d'Artagnan. Also, main character novel "The Countess de Monsoreau" by Louis de Clermont, Comte de Bussy, Seigneur d'Amboise, copied from real person with the same name.
Write a review about the article "Character Prototype"
Literature
- Altman M. S. Russian writers and scientists in Russian XIX literature V. // Articles and materials / N. A. Dobrolyubov.. - Gorky, 1965.
- Andronikova M. I. From prototype to image. - M., 1974.
Notes
see also
Excerpt characterizing the Character Prototype
- Oh, please forgive me! – I exclaimed, ashamed. “You screamed so much that I ran away in fright, wherever my eyes were looking...- Well, it’s okay, next time we’ll be more careful. – Stella calmed down.
This statement made my eyes pop out of my head!..
– Will there be a “next” time??? “I asked cautiously, hoping for a “no.”
- Well, of course! They live here! – the brave girl “reassured” me in a friendly manner.
– What are we doing here then?..
- We are saving someone, have you forgotten? – Stella was sincerely surprised.
And apparently, from all this horror, our “rescue expedition” completely slipped my mind. But I immediately tried to pull myself together as quickly as possible, so as not to show Stella that I was really, really scared.
“Don’t think so, after the first time my braids stood on end all day!” – the little girl said more cheerfully.
I just wanted to kiss her! Somehow, seeing that I was ashamed of my weakness, she managed to make me feel good again immediately.
“Do you really think that little Leah’s dad and brother could be here?..,” I asked her again, surprised from the bottom of my heart.
- Certainly! They could simply have been stolen. – Stella answered quite calmly.
- How to steal? And who?..
But the little girl didn’t have time to answer... Something worse than our first “acquaintance” jumped out from behind the dense trees. It was something incredibly nimble and strong, with a small but very powerful body, every second throwing out a strange sticky “net” from its hairy belly. We didn’t even have time to utter a word when we both fell into it... Frightened, Stella began to look like a small disheveled owlet - her big Blue eyes looked like two huge saucers, with splashes of horror in the middle.
I had to urgently come up with something, but for some reason my head was completely empty, no matter how hard I tried to find something sensible there... And the “spider” (we will continue to call it that, for lack of a better one) in the meantime was quite apparently dragged us into his nest, preparing to “supper”...
-Where are the people? – I asked, almost out of breath.
- Oh, you saw - there are a lot of people here. More than anywhere else... But they, for the most part, are worse than these animals... And they will not help us.
- So what should we do now? – I asked mentally “chattering my teeth”.
– Remember when you showed me your first monsters, you hit them with a green beam? – again, her eyes sparkling mischievously (again, coming to her senses faster than me!), Stella asked cheerfully. - Let `s together?..
I realized that, fortunately, she was still going to give up. And I decided to try, because we had nothing to lose anyway...
But we didn’t have time to hit, because at that moment the spider suddenly stopped and we, feeling a strong push, plopped down to the ground with all our might... Apparently, he dragged us to his home much earlier than we expected...
We found ourselves in a very strange room (if, of course, you could call it that). It was dark inside and there was complete silence... There was a strong smell of mold, smoke and the bark of some unusual tree. And only from time to time some faint sounds were heard, similar to groans. It was as if the “sufferers” had no strength left...
– Can’t you illuminate this somehow? – I asked Stella quietly.
“I’ve already tried, but for some reason it doesn’t work...” the little girl answered in the same whisper.
And immediately a tiny light lit up right in front of us.
“That’s all I can do here.” – The girl sighed sadly
In such dim, meager lighting, she looked very tired and as if grown up. I kept forgetting that this amazing miracle child was just nothing - five years old! she is still a very tiny girl, who this moment It must have been terribly scary. But she endured everything courageously, and even planned to fight...
– Look who’s here? – the little girl whispered.
And peering into the darkness, I saw strange “shelves” on which people were lying, as if in a drying rack.
– Mom?.. Is that you, mom??? – a surprised thin voice whispered quietly. - How did you find us?
At first I didn’t understand that the child was addressing me. Having completely forgotten why we came here, I only realized that they were asking me specifically when Stella pushed me hard in the side with her fist.
“But we don’t know what their names are!” I whispered.
- Leah, what are you doing here? – a male voice sounded.
- I'm looking for you, daddy. – Stella answered mentally in Leah’s voice.
- How did you get here? – I asked.
“Surely, just like you...” was the quiet answer. – We were walking along the shore of the lake, and did not see that there was some kind of “failure” there... So we fell through there. And there was this beast waiting... What are we going to do?
- Leave. – I tried to answer as calmly as possible.
- And the rest? Do you want to leave them all?!. – Stella whispered.
- No, of course I don’t want to! But how are you going to get them out of here?..
Then a strange, round hole opened and a viscous, red light blinded my eyes. My head felt like pincers and I was dying to sleep...
- Hold on! Just don't sleep! – Stella shouted. And I realized that this had some kind of strong effect on us. Apparently, this terrible creature needed us completely weak-willed, so that he could freely perform some kind of “ritual”.
“We can’t do anything...” Stella muttered to herself. - Well, why doesn’t it work?..
And I thought she was absolutely right. We were both just children who, without thinking, embarked on very life-threatening journeys, and now did not know how to get out of it all.
Suddenly Stella removed our superimposed “images” and we became ourselves again.
The creation of types in literature, naturally, cannot be accomplished without an artistic update of the picture of the world. Genuine art is never exhausted by its reflection alone. And in brilliant artistic types There is always an area of meaning in which a character turns out to be a “familiar stranger” for us.
The “misanthropy” of Moliere’s Alceste (the comedy “The Misanthrope”), it would seem, paints the hero’s spiritual manifestations in one color, dominating them as a monoidea and a monopassion. But least of all, it is a derivative of elementary contempt for man: if this were so, art would have nothing to do with such passion. This is "misanthropy" high soul, overwhelmed and depressed by the imperfections of the world and human nature, deeply suffering from it. The high ideal of man has broken in her, and she perceives this break as the collapse of the world. Alceste's "misanthropy" is nothing more than a shadow cast great love, and the gigantic outlines of this shadow only hint at the power of offended love. Here before us, in essence, is the tragedy of love, as if awakening from a beautiful-spirited dream and discovering that it had fallen asleep in the desert. This is essentially the real “misanthropy” of Kierkegaard and Schopenhauer. Its inclusion in the realm of higher meanings and higher movements of the heart, transforming the very essence of the dominant passion in Moliere’s Alceste—this is Moliere’s great artistic discovery, and the type he created is eternally recognizable and eternally new.
So, for the literary type the paths to new knowledge about the world and soul are by no means blocked. But still, it is in the creation of characters that re-creating efforts artistic thought, spirit of discovery, proclamation new truth about a person manifest themselves in all their obviousness. The psychology of perception of literary types is such that they awaken in us, first of all, the joy of aesthetic recognition, which, when perceiving characters, is covered by a sharp and exciting sense of novelty. Having absorbed the truth of empirical reality, the characters created by great artists are no longer reducible to it: they cannot be “returned” to reality, projected onto it again, decomposed into the constituent elements of life that have fallen into the crucible of artistic imagination. The truth embodied in them is no longer the truth that can be found in objective reality, first of all, because the subjective truth of the creator is fused with it, leading us into the circle of the author’s consciousness. From the contact of these two worlds, ideal and real, internal and external, the horizons of our knowledge about man expand widely.
Even where, when creating a character, the writer’s imagination takes a specific prototype as the starting point of its “flight,” even there the created character moves away from the original “material” often to a huge distance. Even by absorbing the external background of the prototype’s life, the outlines of his fate, the character grows into a new spiritual essence that did not exist in reality. The reader’s “recognition” of such a character and its assessment from the standpoint of reality are most often based on only one layer of its content, close to the surface, in which it intersects with the topic of the day. But behind this surface in great works of literature there is immeasurable depth.
The literature about prototypes is vast and varied, sometimes so entertaining that it can compete with the fascination of adventurous stories. But not useful from the point of view of disclosure creative laboratory writer, it misses the mark in the sense that most often it does not bring us one step closer to understanding the nature of artistic character. Just one example. Annenkov’s memoirs capture the story of how Gogol, in the company of his acquaintances, listened to an anecdote, the fabric of which in some way anticipated the plot of the not yet written “The Overcoat.” This was the story of an official who was fond of hunting, who had long and passionately dreamed of a gun from the French company Lepage. Friends from the department, having organized a pool, give him the coveted gun for his name day. Consumed by the excitement of hunting, the official goes the next day to shoot ducks in the Gulf of Finland. But this is where trouble happens: when the boat turns carelessly, the gun lying at the stern falls into the water. The official's shock is so great that he falls ill with a fever. The illness recedes only when the hero’s colleagues, overshadowed by his grief, again join forces and buy him exactly the same gun.
This anecdote was often recalled by those who wrote about Gogol, but they recalled it mainly with reference to its plot intersections with Gogol’s “The Overcoat.” And yet, it is interesting to try to isolate in it that psychological “matter”, those grains of mental experience of the prototype that were fused by Gogol into the character of the hero of “The Overcoat”. This is where the “abyss of space” is revealed, separating the spiritual essence of Gogol’s character from that vague, unclear in outline spiritual type that is barely outlined in the anecdote. If there was anything in his hero that could alert Gogol's attention, it was, without a doubt, the tragicomic difference between the ardent power of a dream and the prosaic ordinariness of its object (the gun). The official's illness is an anecdotally unexpected signal of this difference. Consequently, some facet of the psychological content contained in the prototype was nevertheless reflected in the spiritual essence of Gogol’s character. But the fact of the matter is that there is only one edge.
The contrast between the power of a dream and the prosaic nature of its object is infinitely weakened in the anecdote in comparison with Gogol's story. A gun is still an ordinary thing, albeit a precious one for a hunter who knows the value of a good gun. And the hunt itself is nothing more than a whim for an official from an anecdote, although, of course, a respectable whim. For Gogol’s Bashmachkin, the overcoat is not only an absolutely necessary attribute of existence, but, above all, a materialized symbol of human dignity, trampled upon every day by the entire structure of existence. Its very transformation from an ordinary thing into a universal sign of dignity, into an object life goal and even a mission, at the foot of which the most passionate dreams are thrown - how much Gogol says about the world and man.
The passion of the hero of the joke is a living passion, a sign of his connection with the natural principles of existence. Bashmachkin’s passion, for all its tragedy, is a phantom, the child of a devastated spirit, the twisted inclinations of the soul. This soul has not yet completely petrified in Gogol’s character: from its secret depths, inaccessible to the consciousness of the hero himself, the voice of offended human dignity can still suddenly break through. But the living diversity of its manifestations has already been destroyed.
Finally, Gogol’s Bashmachkin falls into the powerful flow of that artistic style, which Gogol himself called “the science of probing.” In the energy “field” emanating from the author, infinitesimal psychological structures are revealed to the eye, from which character is composed, almost reflexive movements of the soul. And this is not the formal shell of character, but its artistic essence, and the essence arising from the tragic Gogolian feeling of the disintegrating integrity of man.
Prototype(from the Greek protótypon - prototype), a real person, the idea of which served as the fundamental basis for the writer in creating a literary type, the image of a person - the hero of a work
Wikimedia Foundation. 2010.
See what a “Character Prototype” is in other dictionaries:
- (from other Greek πρῶτος first and τύπος imprint, imprint; prototype, sample), Prototype: Prototype (cognitive psychology) an abstract image that embodies many similar forms of the same object or pattern, most ... ... Wikipedia
A prototype, a specific historical or contemporary to the author the personality that served as the starting point for him to create the image. Gorky defines the process of reworking and typifying the prototype as follows: “I recognize the right of the writer and even consider it... ... Literary encyclopedia
prototype- a, m. prototype gr. protos first + typos imprint. 1. Who or what is a predecessor or example of a subsequent one. BAS 1. For this reason, in every educated state it is accepted as a rule or law: 1) to have and preserve... ... Historical Dictionary of Gallicisms of the Russian Language
prototype- y, part 1) A specific person, the facts of her life or the history of her character are used as the basis for the image of a literary character. 2) special The primary appearance, the primary form of any organ or organism from which further organs or organisms have historically evolved.… … Ukrainian Tlumach Dictionary
M. 1. The person who served as the writer’s source of creation literary character. 2. The original form, the form of any organ or organism, from which historically subsequent organs or organisms developed. 3. Who or what is... ... Modern Dictionary Russian language Efremova
prototype- (Greek prototypon prototype) real personality or a literary hero who served the author as a model for creating a character. P. can appear in a work as authentic (Pugachev in The captain's daughter A.S. Pushkin) or a fictitious name (prototype... Dictionary of literary terms
PROTOTYPE- (from the Greek prōtótypon prototype), a real-life person who served the author as a prototype (model) for creating a literary character. “Reworking” of P., his creative transformation is an inevitable consequence of artistic development... ... Literary encyclopedic dictionary
Castiel Misha Collins as Castiel Appearance Raising Lazarus Information Nickname Cas Gender Male Age Unknown Occupation Messenger of God Number of episodes ... Wikipedia
Wikipedia has articles about other people with this last name, see Bulgakov. Mikhail Afanasyevich Bulgakov Date of birth ... Wikipedia
Mihai Volontir as Budulaya Information Nickname Russian Gypsy Gender male Age ... Wikipedia
November 2nd, 2016
Gorky believed that a writer is obliged to speculate and typify a real person, turning him into the hero of a novel, and the search for prototypes of Dostoevsky’s characters will even lead to philosophical volumes, touching real people only in passing.
Nevertheless, as it turned out, very specific types of characters are most often and most strongly associated with their prototypes - adventurers of all kinds and stripes, or fairy-tale heroes. It’s not a fact that everything was exactly like this in reality due to the passage of years or the absence of the main persons, but at least these assumptions are very interesting
Let's remember a few:
Sherlock Holmes
Joseph Bell (Sherlock Holmes)
The author himself admitted that the image of Sherlock Holmes was related to the doctor Joseph Bell, Conan Doyle’s teacher. In his autobiography, he wrote: “I thought of my old teacher Joe Bell, his eagle profile, his inquisitive mind and his incredible ability to guess at all the details.
If he were a detective, he would definitely turn this amazing but disorganized case into something more like an exact science." “Use the power of deduction,” Bell often repeated, and confirmed his words in practice, being able to understand appearance the patient’s biography, inclinations, and often diagnosis.
Later, after the release of novels about Sherlock Holmes, Conan Doyle wrote to his teacher that his hero's unique skills were not fiction, but simply how Bell's skills would logically develop if the circumstances were right. Bell answered him: “You yourself are Sherlock Holmes, and you know it very well!”
Ostap Bender
By the age of 80, Ostap Bender's prototype had become a quiet conductor of the Moscow-Tashkent train. In life, his name was Osip (Ostap) Shor, he was born in Odessa and, as expected, discovered a penchant for adventure during his student years.
Returning from Petrograd, where he studied for a year at the Technological Institute, Shor, having neither money nor profession, introduced himself first as a chess grandmaster, then contemporary artist, then a hiding member of the anti-Soviet party. Thanks to these skills, he reached his native Odessa, where he served in the criminal investigation department and fought local banditry, hence Ostap Bender’s respectful attitude towards the Criminal Code
Professor Preobrazhensky
With the prototype of Professor Preobrazhensky from Bulgakov's " Heart of a Dog“Things are much more dramatic. He was a French surgeon of Russian origin, Samuil Abramovich Voronov, who in the first quarter of the twentieth century created a real sensation in European medicine.
He completely legally transplanted monkey glands into humans to rejuvenate the body. Moreover, the hype was justified - the first operations had the desired effect. As the newspapers wrote, children with disabilities mental development acquired mental alertness, and even in one song of those times called Monkey-Doodle-Doo there were the words “If you are too old for dancing, get yourself a monkey iron.”
Voronov himself cited improvement in memory and vision, good spirits, ease of movement and resumption of sexual activity as the results of treatment. Thousands of people underwent treatment according to Voronov’s system, and the doctor himself, to simplify the practice, opened his own monkey nursery on the French Riviera.
However, after some time, patients began to feel a deterioration in the body’s condition, rumors appeared that the result of the treatment was nothing more than self-hypnosis, Voronov was branded a charlatan and disappeared from European science until the 90s, when his work began to be discussed again
But the main character of “The Picture of Dorian Gray” seriously spoiled the reputation of his real-life original. John Gray, a friend and protégé of Oscar Wilde in his youth, was famous for his penchant for the beautiful and the vicious, as well as for the appearance of a fifteen-year-old boy.
Wilde did not hide the similarity of his character with John, and the latter sometimes even called himself Dorian. The happy union ended the moment the newspapers began to write about it: John appeared there as the lover of Oscar Wilde, even more languid and apathetic than everyone who came before him.
An angry Gray filed a lawsuit and obtained an apology from the editor, but his friendship with the famous author slowly faded away. Soon Gray met his life partner - the poet and native of Russia Andre Raffalovich, together they converted to Catholicism, then Gray became a priest at St. Patrick's Church in Edinburgh.
Michael Davis (Peter Pan)
Acquaintance with the family of Sylvia and Arthur Davis gave James Matthew Barry, at that time already a famous playwright, his main character - Peter Pan, whose prototype was Michael, one of the Davis sons.
Peter Pan became the same age as Michael and acquired from him both some character traits and nightmares. It was from Michael that the portrait of Peter Pan was sculpted for the sculpture in Kensington Gardens.
The fairy tale itself was dedicated to Barry’s older brother, David, who died the day before his fourteenth birthday while skating and remained forever young in the memory of his loved ones.
The story of Alice in Wonderland began on the day Lewis Carroll walked with the daughters of the rector of Oxford University, Henry Lidell, among whom was Alice Lidell. Carroll came up with the story on the fly at the request of the children, but the next time he did not forget about it, he began to compose a sequel.
Two years later, the author presented Alice with a manuscript consisting of four chapters, to which was attached a photograph of Alice herself at the age of seven. It was entitled “A Christmas gift to a dear girl in memory of a summer day.”
While working on Lolita, Vladimir Nabokov, according to his biographer Brian Boyd, often scanned the crime sections of newspapers for stories of accidents, murders and violence. The story of Sally Horner and Frank Lasalle in 1948 clearly caught his attention.
It was reported that a middle-aged man had abducted twelve-year-old Sally Horner from New Jersey and kept her in his possession for nearly two years until she was found in a Southern California motel.
Lasalle, just like Nabokov’s hero, throughout the entire time passed Sally off as his daughter. Nabokov even briefly mentions this incident in the book in the words of Humbert: “Did I do to Dolly the same thing that Frank LaSalle, a fifty-year-old mechanic, did to eleven-year-old Sally Horner in ’48?”
Karabas-Barabas
Alexey Tolstoy, as is known, although he only sought to rewrite Carlo Collodio’s “Pinocchio” in Russian, published a completely independent story in which analogies with contemporary cultural figures are clearly read.
Tolstoy was not a fan of Meyerhold's theater and its biomechanics, so he got the role of the antagonist - Karabas-Barabas. The parody can be read even in the name: Karabas is the Marquis of Karabas from Perrault’s fairy tale, and Barabas is from the Italian word for swindler - baraba. Meyerhold's assistant, who worked under the pseudonym Voldemar Luscinius, got the no less eloquent role of Duremar
By the way, we once had controversial history about this or. But in reality
Perhaps the most incredible and mythologized story of the image is the story of Carlson’s creation. His possible prototype is Hermann Goering. Relatives of Astrid Lindgren, of course, refute this version, but it still exists and is actively discussed.
Astrid Lindgren and Goering met in the 1920s, when the latter organized an air show in Sweden. At that time, Goering was fully “in the prime of his life,” as Carlson liked to say about himself. After World War I, he became a famous ace pilot with a certain charisma and, according to legend, a good appetite.
The little engine behind Carlson’s back is often interpreted as an allusion to Goering’s flying practice. A possible confirmation of this analogy can be considered the fact that for a certain time Astrid Lindgren supported the ideas of the National Socialist Party of Sweden.
The book about Carlson was published already in the post-war period in 1955, so it would be madness to advocate a direct analogy of these heroes, however, it is quite possible that bright image young Goering remained in her memory and somehow influenced the appearance of the charming Carlson
And a little more about our Soviet cartoon:
In total, two episodes about Carlson were released: “Kid and Carlson” (1968) and “Carlson is back” (1970). Soyuzmultfilm was going to make a third one, but this idea was never realized. The studio archives still contain film that was planned to be used for filming a cartoon based on the third part of the trilogy about the Kid and Carlson - “Carlson Plays Pranks Again.”
Carlson, Malysh, Freken Bok and all the other characters were created by artist Anatoly Savchenko. He also suggested inviting Faina Ranevskaya to voice the “housekeeper.” She auditioned for this role before great amount actresses, and no one came up, but Ranevskaya was perfect. She had another “minus” - a difficult character. She called the director “baby” and categorically rejected all his comments. And when I first saw my heroine, I was scared, and then I was very offended by Savchenko. “Am I really that scary?” — the actress constantly asked. The explanation that this was not her portrait, but just an image, did not console Ranevskaya. She remained unconvinced.
Carlson also did not have a “voice” for a long time; Livanov found himself, by accident. The actor visited the creators of the cartoon every day for a game of chess, and one day while playing, director Boris Stepantsev complained to him that he couldn’t find a person to play Carlson. Vasily Livanov immediately went to the studio, tried out, and was approved. Later, the actor admitted that, while working in the image of Carlson, he diligently parodied famous director Grigory Roshal
One version explains that the teddy bear with sawdust in its head got its name from the nickname of Milne’s son Christopher Robin’s favorite toy. Just like the rest of the characters in the book.
However, in reality Winnie the Pooh was named after a real-life female bear who lived in the London Zoo. Her name was Winnipeg, and she entertained the residents of the British capital from 1915 to 1934. The bear had many admirers. Among them was Christopher Robin
One-legged John Silver
In Treasure Island, Robert Louis Stevenson portrayed his friend, poet and critic Williams Hansley, as a good villain. As a child, William suffered from tuberculosis and doctors, for some unknown reason, decided to amputate one of his legs at the knee.
After the book was announced, the writer wrote to a friend: “I have a confession to make. Evil on the outside, but kind at heart, John Silver was based on you. You're not offended, are you?
Refined man with princely title, married to a Dutch princess and prone to dubious adventures - this is what the prototype of James Bond, Prince Bernard Van Lippe-Biesterfeld, actually looked like.
The adventures of James Bond began with a series of books written by English intelligence officer Ian Fleming. The first of them, Casino Royale, was published in 1953, a few years after Fleming was assigned as part of his duty to monitor Prince Bernard, who had defected from German service to British intelligence.
The two intelligence officers, after much mutual suspicion, became friends, and it was from Prince Bernard that Bond adopted the manner of ordering a Vodka Martini, adding: “Shaken, not stirred,” as well as the habit of introducing himself effectively: “Bernard, Prince Bernard,” as he liked to say He
And here is another more complete and plausible version
sources
http://www.softmixer.com/2013/03/blog-post_10.html
https://interesnosti.mediasole.ru/literaturnye_geroi_i_ih_prototipy
Here's more from the literary: it turns out that what connects. For those who don’t know, I’ll tell you what the sequel is
What is a prototype? This is a real person who inspired the poet or writer to create literary image. There are different answers to what a prototype is. This term is found not only in literature, but also in psychology, engineering, automotive industry and other fields. This article examines the main uses of the word.
What is a prototype in literature
This word came into our speech from the ancient Greek language. It can be translated as “prototype.” It’s easy to understand what a prototype is by remembering the plot famous novel"Fathers and Sons". The prototype of the main character in Turgenev's work, according to many literary scholars, is Dobrolyubov. Although there is an opinion that the author created certain features of Bazarov under the impression of his other contemporaries - Preobrazhensky and Pavlov.
The image of a literary hero not only reproduces individual features of the prototype, but also reflects the type of personality characteristic of a certain era. What is a prototype? The meaning of the term is quite broad. But the definition can be formulated as follows: a bright personality whose features the writer borrowed to create a new image.
Author, creating literary work, uses his life experience. Thus, in the novel “The Master and Margarita” by Bulgakov, one of the critics who wrote a harsh critical article about the protagonist’s work is the prototype of a literary figure who once actively prevented the publication of the novel “The White Guard.”
One character can have several prototypes. But one thing worth considering important point. The prototype cannot have the same name as the hero.
Other examples from the literature:
- "Master and Margarita". The prototype of the main character is Bulgakov.
- "Dog's heart". Professor Preobrazhensky has several prototypes, contemporaries of the writer. Among them are surgeon S. Voronov, doctor A. Zamkov, biologist I. Ivanov, physiologist I. Pavlov.
- "The Tale of a Real Man." The prototype of the main character of Boris Polevoy's work is Alexey Maresyev.
In almost every work you can find a hero who has a prototype. Critics and literary scholars love to argue about which outstanding personalities the writer had in mind when creating this or that image. It is worth saying that the presence of a prototype in the hero in most cases is just an assumption.
The prototype can be not only a historical figure, but also an unremarkable person who was involved in some kind of interesting story, which inspired the writer. For example, Leskov wrote an essay “Lady Macbeth Mtsensk district"under the impression of a newspaper article that talked about a woman who killed her husband.
In cinema, the meaning of the word “prototype” fully corresponds to the meaning literary term. The screenwriter creates the image of a future movie character based on characteristic features a real person. And in 2007, the television film “Liquidation” was released. The main character of this picture has several prototypes. Among them are police lieutenant colonel David Kurlyand and UGRO officer Viktor Pavlov.
Psychology: “prototype” and its definition
This term refers to an abstract image that embodies the various original forms of a particular pattern or object. This concept of cognitive psychology is usually used to refer to a person who has qualities that are characteristic of a particular category.
Engineering
In this area, a term is often used that has the same root word, the meaning of which we discussed above. Namely prototyping. The term is used when it comes to creating a draft version of a certain model for further analysis of the operation of the entire system. This allows you to see a more detailed picture of the device. Prototyping is used in mechanical engineering, programming and other areas of technology.
Automotive industry
A synonym for the word “prototype” in this area is a concept car. Before the production of a new car model, a demonstration of a new style, technology, and design is carried out. For this, prototypes of future machines are used. They are often exhibited at car shows to see consumer reactions. The first concept car was created by Harley Earl, a designer at General Motors.
The term prototype is also used in computer science (generative design pattern). "Prototype" is the title of a film that was supposed to be released in 2014. In fact, the film was never filmed. Making a movie trailer is just a bit of a joke.