Who it literary character? We devote our article to this issue. In it we will tell you where this name came from, what literary characters and images are, and how to describe them in literature lessons according to your desire or the teacher’s request.
Also from our article you will learn what an “eternal” image is and what images are called eternal.
Literary hero or character. Who is this?
We often hear the concept of “literary character”. But few can explain what we are talking about. And even schoolchildren who have recently returned from a literature lesson often find it difficult to answer the question. What is this mysterious word “character”?
It came to us from ancient Latin (persona, personnage). The meaning is “personality”, “person”, “person”.
So, a literary character is actor We are mainly talking about prose genres, since images in poetry are usually called “lyrical hero”.
It is impossible to write a story or poem, novel or story without characters. Otherwise, it will be a meaningless collection of, if not words, then perhaps events. The heroes are people and animals, mythological and fantastic creatures, inanimate objects, for example, Andersen’s steadfast tin soldier, historical figures and even entire nations.
Classification of literary heroes
They can confuse any literature connoisseur with their quantity. And it’s especially hard for secondary school students. And especially because they prefer to play their favorite game instead of doing homework. How to classify heroes if a teacher or, even worse, an examiner demands it?
The most win-win option: classify the characters according to their importance in the work. According to this criterion, literary heroes are divided into main and secondary. Without the main character, the work and its plot will be a collection of words. But in case of loss minor characters we will lose a certain branch storyline or expressiveness of events. But overall the work will not suffer.
The second classification option is more limited and is suitable not for all works, but for fairy tales and fantasy genres. This is the division of heroes into positive and negative. For example, in the fairy tale about Cinderella, poor Cinderella herself is a positive hero, she evokes pleasant emotions, you sympathize with her. But the sisters and the evil stepmother are clearly heroes of a completely different type.
Characteristics. How to write?
Heroes of literary works sometimes (especially in a literature lesson at school) need a detailed description. But how to write it? The option “once upon a time there was such a hero. He is from a fairy tale about this and that” is clearly not suitable if the assessment is important. We will share with you a win-win option for writing a characterization of a literary (and any other) hero. We offer you a plan with brief explanations of what and how to write.
- Introduction. Name the work and the character you will talk about. Here you can add why you want to describe it.
- The place of the hero in the story (novel, story, etc.). Here you can write whether he is major or minor, positive or negative, a person or a mythical or historical figure.
- Appearance. It would not be amiss to include quotes, which will show you as an attentive reader, and will also add volume to your description.
- Character. Everything is clear here.
- Actions and their characteristics in your opinion.
- Conclusions.
That's all. Keep this plan for yourself, and it will come in handy more than once.
Famous literary characters
Although the very concept of a literary hero may seem completely unfamiliar to you, if you tell you the name of the hero, you will most likely remember a lot. Especially it concerns famous characters literature, for example, such as Robinson Crusoe, Don Quixote, Sherlock Holmes or Robin Hood, Assol or Cinderella, Alice or Pippi Longstocking.
Such heroes are called famous literary characters. These names are familiar to children and adults from many countries and even continents. Not knowing them is a sign of narrow-mindedness and lack of education. Therefore, if you don’t have time to read the work itself, ask someone to tell you about these characters.
The concept of image in literature
Along with character, you can often hear the concept of “image”. What is this? Same as the hero or not? The answer will be both positive and negative, because a literary character may well be a literary image, but the image itself does not have to be a character.
We often call this or that hero an image, but nature can appear in the same image in a work. And then the topic of the examination paper can be “the image of nature in the story...”. What to do in this case? The answer is in the question itself: if we are talking about nature, you need to characterize its place in the work. Start with a description, add character elements, for example, “the sky was gloomy,” “the sun was mercilessly hot,” “the night was frightening with its darkness,” and the characterization is ready. Well, if you need a description of the hero’s image, then how to write it, see the plan and tips above.
What are the images?
Our next question. Here we will highlight several classifications. Above we looked at one - images of heroes, that is, people/animals/mythical creatures and images of nature, images of peoples and states.
Also, images can be so-called “eternal”. What is an "eternal image"? This concept names a hero created once by an author or folklore. But he was so “characteristic” and special that after years and eras, other authors write their characters from him, perhaps giving them different names, but without changing the essence. Such heroes include the fighter Don Quixote, the hero-lover Don Juan and many others.
Unfortunately, modern fantasy characters do not become eternal, despite the love of fans. Why? What's better than this funny Don Quixote of Spider-Man, for example? It's difficult to explain this in a nutshell. Only reading the book will give you the answer.
The concept of "closeness" of the hero, or My favorite character
Sometimes the hero of a work or movie becomes so close and loved that we try to imitate him, to be like him. This happens for a reason, and it’s not for nothing that the choice falls on this character. Often a favorite hero becomes an image that somehow resembles ourselves. Perhaps the similarity is in character, or in the experiences of both the hero and you. Or this character is in a situation similar to yours, and you understand and sympathize with him. In any case, it's not bad. The main thing is that you imitate only worthy heroes. And there are plenty of them in the literature. We wish you to meet only with good heroes and imitate only the positive traits of their character.
At first glance, the image, the character, and literary type, and the lyrical hero are the same concepts, or at least very similar. Let's try to understand the vicissitudes of the meanings of the concepts being studied.
Image- this is an artistic generalization of human properties, character traits in the individual appearance of the hero. The image is artistic category, which we can evaluate from the point of view of the author’s skill: we cannot despise the image of Plyushkin, since it evokes admiration for Gogol’s skill, but we may not like the type of Plyushkin.
Concept "character" broader than the concept of “image”. A character is any character in a work, so it is incorrect to replace the concepts of “image” or “lyrical hero” with this concept. But we note that in relation to the minor characters of the work, we can only use this concept. Sometimes you can come across the following definition: a character is a person who does not influence the event, who is not important in revealing the main problems and ideological conflicts.
Lyrical hero– the image of a hero in a lyrical work, whose experiences, thoughts, feelings reflect the author’s worldview; this is an artistic “double” of the author, having his own inner world, your destiny. This is not an autobiographical image, although it embodies the spiritual world of the author. For example, the lyrical hero M.Yu. Lermontov is a “son of suffering”, disappointed in reality, romantic, lonely, constantly looking for freedom.
Literary type- this is a generalized image of human individuality, the most possible, characteristic, for a certain social environment at the certain time. A literary type is a unity of the individual and the typical, and “typical” is not synonymous with “average”: a type always absorbs all the most striking features characteristic of a specific group of people. The apogee of the author's skill in developing a type is the transition of the type into the category of household names (Manilov is a household image of an idle dreamer, Nozdryov is a liar and a braggart, etc.).
We often come across another concept - character. Character is human individuality, consisting of certain spiritual, moral, mental traits; this is the unity of emotional reaction, temperament, will and a type of behavior determined by the socio-historical situation and time. Each character has a dominant trait that gives living unity to the entire diversity of qualities and properties.
Thus, when characterizing a hero, it is very important not to forget about the differences discussed above.
Good luck in characterizing your favorite literary characters!
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A character easily turns into a hero if it receives an individual, personal dimension or character. According to Aristotle, character refers to the manifestation of the direction of “the will, whatever it may be.”
IN modern literary criticism character is the unique individuality of the character; his internal appearance; that is, everything that makes a person a person, that distinguishes him from other people. In other words, the character is the same actor who plays behind the mask - the character. At the heart of character is the inner “I” of a person, his self. Character reveals the image of the soul with all its searches and mistakes, hopes and disappointments. It denotes the versatility of human individuality; reveals her moral and spiritual potential.
Character can be simple or complex. A simple character is distinguished by integrity and staticity. He endows the hero with an unshakable set of value guidelines; makes it either positive or negative. Positive and negative heroes usually divide the system of characters in a work into two warring factions. For example: patriots and aggressors in the tragedy of Aeschylus (“Persians”); Russians and foreigners (English) in the story by N.S. Leskova “Lefty”; “last” and “sets” in the story by A.G. Malyshkina "The Fall of Dire".
Simple characters are traditionally combined into pairs, most often on the basis of opposition (Shvabrin - Grinev in “ The captain's daughter» A.S. Pushkin, Javert - Bishop Miriel in “Les Miserables” by V. Hugo). Contrast sharpens the virtues goodies and belittles the merits of negative heroes. It occurs not only on ethical basis. It is also formed by philosophical oppositions (such is the confrontation between Joseph Knecht and Plinio Designori in G. Hesse’s novel “The Glass Bead Game”).
A complex character manifests itself in a constant search and internal evolution. It expresses the diversity of the individual’s mental life. It reveals both the brightest, highest aspirations of the human soul, and its darkest, basest impulses. A complex character lays, on the one hand, the prerequisites for human degradation (“Ionych” by A.P. Chekhov); on the other hand, the possibility of his future transformation and salvation. A complex character is very difficult to define in the dyad of “positive” and “negative”. As a rule, it stands between these terms or, more precisely, above them. The paradox and contradictoriness of life thickens in it; all the most mysterious and strange things that make up a person’s secret are concentrated. These are the heroes of F.M. Dostoevsky R. Musil, A. Strindberg and others.
The structure of a literary hero
Literary hero- a complex, multifaceted person. He can live in several dimensions at once: objective, subjective, divine, demonic, bookish (Master M.A. Bulgakova). However, in his relationships with society, nature, other people (everything that is opposite to his personality), a literary hero is always binary. He receives two appearances: internal and external. He follows two paths: introverting and extroverting. In the aspect of introversion, the hero is a “thinking in advance” (we will use the eloquent terminology of C. G. Jung) Prometheus. He lives in a world of feelings, dreams, dreams. In the aspect of extra-version, the literary hero is “acting and then thinking” Epitheus. He lives in real world for the sake of its active development.
To create appearance The hero is “worked” by his portrait, profession, age, history (or past). The portrait gives the hero a face and figure; teaches him a complex distinctive features(fatness, thinness in A.P. Chekhov’s story “Fat and Thin”) and bright, recognizable habits (the characteristic wound in the neck of partisan Levinson from A.I. Fadeev’s novel “Destruction”).
Very often, a portrait becomes a means of psychologization and indicates certain character traits. As, for example, in famous portrait Pechorin, given through the eyes of the narrator, a certain traveling officer: “He (Pechorin - P.K.) was of average height; his slender, thin frame and broad shoulders proved a strong build, capable of enduring all the difficulties of nomadic life<…>. His gait was careless and lazy, but I noticed that he did not wave his arms - a sure sign of a secretive character.
The hero's profession, vocation, age, and history pedal the process of socialization. Profession and vocation give the hero the right to socially useful activities. Age determines the potential for certain actions. The story about his past, parents, country and place where he lives gives the hero sensually tangible realism and historical specificity.
The internal appearance of the hero consists of his worldview, ethical beliefs, thoughts, attachments, faith, statements and actions. Worldview and ethical beliefs provide the hero with the necessary ontological and value guidelines; give meaning to his existence. Attachments and thoughts outline the diverse life of the soul. Faith (or the lack thereof) determines the presence of the hero in the spiritual field, his attitude towards God and the Church (in the literature of Christian countries). Actions and statements indicate the results of the interaction of soul and spirit.
A very important role in depicting the inner appearance of the hero is played by his consciousness and self-awareness. The hero can not only reason and love, but also be aware of emotions, analyze his own activities, that is, reflect. Artistic reflection allows the writer to identify the hero’s personal self-esteem; characterize his attitude towards himself.
The individuality of the literary hero is reflected especially clearly in his name. The existence of a hero in a literary work begins with the choice of a name. The name condenses his inner life and shapes his mental processes. The name gives the key to a person’s character and crystallizes certain personality traits.
So, for example, the name “Erast”, derived from the word “eros”, is hinted at in the story by N.M. Karamzin on the sensitivity, passion and immorality of Liza’s chosen one. The name “Marina” in Tsvetaeva’s famous poem recreates the variability and inconstancy of the lyrical heroine, who is like “sea foam.” But what was invented by A. Green beautiful name“Assol” reflects the musicality and inner harmony of Longren’s daughter.
As part of philosophy (according to Father Pavel Florensky), “names are the essence of categories of personal cognition.” Names are not just named, but actually declare the spiritual and physical essence of a person. They form special models of personal existence, which become common to each bearer of a certain name. Names predetermine a person’s spiritual qualities, actions and even fate. So, conventionally, all Annas have something in common and typical in grace; all Sophia is in wisdom; all of Anastasia is in resurrection.
In literature, the name of the hero is also a spiritual norm of personal existence; a stable type of life that deeply generalizes reality. The name correlates its external, sound-letter outline with the internal, deep meaning; predetermines the actions and character of the hero, unfolds his existence. The hero reveals himself in close connection with the general idea and image of your name. Such is the “poor”, unfortunate Liza, Natasha Rostova, Masha Mironova. Each personal name here is a special literary type, a universal way of life, characteristic only of this particular name. For example, the path
Lisa is the path of a quiet, touching rebellion against moral standards, against God (although Elizabeth is a “God-honorer”). Natalia's path is the path of simple natural attractions that are beautiful in their naturalness. The path of Mary is the path of the “golden mean”: the path of a serving mistress, combining both majesty and humility.
In other words, the name transforms the “life” of a literary hero and determines the latter’s way of moving in the sea of life.
A vivid illustration of the philosophy of P.A. Florensky presents the plot of the story by A.N. Nekrasov "The Adventures of Captain Vrungel". The yacht “Pobeda” with the famous captain (Vrungel) is setting off for an international regatta organized by the Enland Club. Vrungel shows strong confidence in victory and is indeed the first to reach the finish line. But victory comes at a high price. The new name (the first two letters fall off at the beginning of the voyage and turn the yacht into “Trouble”) gives the ship the status of doomed. "Trouble" goes to victory through ebbs and flows, fires and icebergs. She is detained by the regatta regulations, customs police, crocodiles and sperm whales. It is under attack from the NATO navy and organized crime. And all thanks to the middle name.
The question of the literary hero - in its correlation with the author-creator - is the natural conclusion of the entire section “Structure of a literary work”. The form of a work of art as a whole, according to M. M. Bakhtin, represents the “total reaction” of the author “to the whole of the human hero.” In other words, the form of a work is the boundary of the hero (as a whole - hence the concept of “completion” of the hero), which is created both by his activity (self-determination) and by defining (limiting) the hero by the author.
It is clear that such an understanding cannot apply to any image of a person in a literary work. The reader intuitively distinguishes the “main” depicted persons (characters) from the secondary ones, and even more so from those only named: both by the degree of participation in the course of events, and by the degree of closeness to their author or the author’s interest, one way or another expressed - in direct or indirect assessments - and thereby controlling reader interest (this is most noticeable, for example, in adventure literature).
Hence the task is to correlate the various existing designations of persons or figures depicted in a literary work - hero, character, character, type - with their real multiplicity and difference in functions.
Referring to the definitions found in reference books, we discover two parallel and opposite trends. The concepts designated by the four terms are mixed wherever their common ground the “image of a person in literature” is accepted and differs only in those cases where the hero, character and type are correlated with the concept of “character”, taking as the initial (at least) idea of a character who has certain plot functions.
The image is one of the most vague and at the same time the most frequent literary concepts. Let us note, by the way, the still popular and still unconditional use of the expression “system of images” in the sense of “system of characters,” although any plot event, and any element of stylistic structure (say, a comparison or metaphor) are also images.
It is not surprising that if we start from the term “image”, a literary hero, character and type turn out to be almost equally images and are recognized as interchangeable. Sometimes even the “image of the narrator” is considered “character” (N. Vladimirova).
A demarcating, differentiating role is played by the concept of character, which usually means any “subject of action”, “actor”, as well as any subject of speech, speaker. From this point of view, firstly, the character can be distinguished from the main character by the degree of participation in the action - as a secondary character and, in addition, from the lyrical subject, who can be called a hero, but not a character, since he is not the bearer of action .
Secondly, character can be contrasted with type: as an individualized character to a non-individualized one, or as a character in which an “internal” aspect is revealed, i.e. the motivating reasons for behavior and action, “independent activity” is shown to the character, shown only “from the outside”, through behavior and action.
Thus, it is necessary to take into account the differences in the roles of the depicted persons in the plot or the types of their plot functions. In addition, one should distinguish between the plot function of the character (which is an object for other depicted persons or only for the author and the reader) and the “content” of the literary personality, which may not coincide with this role in the plot (the role is a possible object for itself). Hence the importance of the concepts “point of view” and “outlook” for the classification of types of hero.
Theory of Literature / Ed. N.D. Tamarchenko - M., 2004
The concepts of literary hero and character are closely related; they both represent the main elements of any literary work.
Literary hero
A literary hero is usually called one of the central characters in a literary work, the one who focuses attention on himself and is the main one for the development of the plot and action. It is the fate of the literary hero that is at the center of the plot of any literary work.
A literary hero is a bearer of a constructive role in a work; he must be personified in the imagination. In addition to personality, it can be an animal, plant or fantastic creature. Literary heroes are divided into main, secondary And episodic.
Many definitions of a literary hero also mention character, or more precisely, that a fictitious personality in prose and poetry is called both a literary hero and a character. Also, the concept of a hero is closely related to the concept of an image, and one can find a definition of a hero as artistic image person in literature.
Character
Literary character is considered to be the image of a person, which is outlined with completeness and individual certainty. It is through character that it is revealed certain type behavior, often one that is inherent in a certain historical time and social consciousness.
Also, through character, the author reveals his moral and aesthetic concept human existence. Character is spoken of as organic unity general and individual, that is, character expresses both personality traits, and those that are inherent to the public. In a broader sense, character is an artistically created personality, but one that reflects the actual human type.
To create a certain character in a literary work, there is a whole system of elements. These are external gestures and internal ones: speech and thoughts. The appearance, place and role of the hero in the development of the plot also forms a certain type of character. The character may also contain contradictions that are already embodied in artistic conflicts. The contradictions may be part of a certain nature.
Speech and action as ways to create character
Some of the main ways to create character in literary works are speech And act. The linguistic form of expression of the character of the hero is inherent in almost everyone literary work, it is thanks to this method that readers can fully understand the subtleties of the character of a literary hero and his inner world.
Without speech, it is quite difficult to create a certain character. For a genre such as drama, speech characters performs one of the most important characterological functions.
Deed is one of the brightest forms of expression literary character. The hero's actions, his decisions and choices tell us about his nature and the character that the author wanted to express in him. Actions sometimes have great importance, than speech for a final understanding of the character of a literary hero.
