Pathos and heroism in prison life. What is the pathos of a literary work?

Pathos

Pathos

PAPHOS - see Aesthetics.

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Pathos

(from the Greek pathos - suffering, inspiration, passion), the emotional content of a work of art, feelings and emotions that the author puts into the text, expecting the reader’s empathy. In modern literary criticism, the term is used in combination with “the pathos of a work” - for example, the pathos of “Dead Souls” and “The Inspector General” by N.V. Gogol(in the words of the author himself) - “laughter visible to the world through tears invisible to him.” In the history of literature, the term "pathos" had different meanings: in ancient theory, pathos is passion as a property of the soul, its ability to feel something. In German classical aesthetics, pathos is a set of passions that determines the content of human behavior. For German philosopher G. W. F. Hegel pathos is the essential content of the human “I” (for example, Romeo’s pathos is his love for Juliet). V. G. Belinsky for the first time shifts the emphasis from the properties of a person to the properties of the text: pathos is characteristic not of the writer or his hero, but of the work or creativity as a whole. Modern literary criticism close to Belinsky's interpretation. Sometimes the word “pathetic” is used to mean “too emotional, too tragic.”

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Pathos

PATHOS. The literal meaning of the word (Greek) is passion, suffering. Was originally introduced as special term into the theory of eloquence. From the field of oratory, the term P. and its derivative - pathetic - moved into the theory of literature or poetics. Moreover, the main misconception of all old theories of literature, with the exception of the newest ones, was that poetry was not sufficiently distinguished from oratory, and the concepts characterizing the latter were entirely transferred to the field of poetry theory. So, for example, “decorating epithet” belongs to rhetoric, not poetry, since in poetry the epithet has a significant, and not just a decorative, meaning. Pathos in rhetoric, i.e. in the theory of eloquence, it relates mainly to the final part of the speech, with which they want to especially influence the listeners, using a number of techniques directed in this direction. In relation to fiction Pathos generally means passionate inspiration that pervades a work or individual parts of it. At the same time, artistic inspiration can be distinguished from artistic mood as follows: in the first we note strength, tension, in the second - depth, sublimity, sophistication. But, of course, there cannot be a completely precise distinction here and the words: artistic pathos- often used in the sense of even artistic inspiration in general (see this word) with indifference to its shades. The derivative from the word P. - pathetic - always retains the meaning of passionate, ebullient excitement, which at the same time has a certain strength and concentration. Philosophers who wrote on issues of art loved to study in detail the signs and properties of pathetic, touching, sublime and other types of artistic experience. But it is unlikely that this classification has great importance in the face of the basic and direct question of the philosophy of art or aesthetics about what artistry is—beauty or the beautiful in art, or—more broadly: artistic—beauty or the beautiful in general (i.e., outside of art).

Joseph Eiges. Literary Encyclopedia: Dictionary literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

See what "Paphos" is in other dictionaries:

See Pathos. Philosophical encyclopedic Dictionary. M.: Soviet Encyclopedia. Ch. editor: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983. PAPHOS... Philosophical Encyclopedia

- (Greek pathos passion). Inspiration, passionate penetration of the idea. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. PAPHOS Greek. pathos, from pascho, to endure, to experience a feeling, passion. Inspiration;… … Dictionary of foreign words of the Russian language

PAPHOS, pathos, many. no, husband (Greek pathos) (book). 1. Passionate inspiration, animation. “The unknown language sounded with stern pathos.” Nekrasov. “Pathos is always a passion that is burned in a person’s soul by an idea and always strives for an idea... ... Dictionary Ushakova

Cm … Synonym dictionary

pathos - antique concept, meaning suffering, which was caused by a person’s own actions, driven by strong passion, that is, the resolution of passion through suffering. In the teachings of Aristotle, pathos is one of the basic concepts of aesthetics: death or other tragic... Great psychological encyclopedia

- (Greek πάθος feeling, emotion) a rhetorical category corresponding to a style, manner or way of expressing feelings that are characterized by emotional sublimity and inspiration. The category was first fully developed by Aristotle, who... ... Wikipedia

pathos- PAPHOS, PATOS a, m. pathos m. gr. pathos suffering. False pathos, pomposity. Ganshina. 1. Feeling of inspiration, elation. BAS 1. Pathos is always a passion kindled in a person’s soul by an idea and always striving for an idea. Belinsky op. A … Historical Dictionary Gallicisms of the Russian language

- (Greek pathos suffering) an ancient concept denoting suffering, which was caused by a person’s own actions, driven by a strong passion, i.e. resolution of passion in suffering. In the teachings of Aristotle, pathos was considered one of the main... ... Psychological Dictionary

Pathos- PAPHOS. The literal meaning of the word (Greek) is passion, suffering. It was originally introduced as a special term in the theory of eloquence. From the field of oratory, the term P. and its derivative pathetic moved into theory... ... Dictionary of literary terms

pathos- PAPHOS, a, m. The right to perform at the end (or at other most advantageous time) of the concert, when the audience is already fully prepared to perceive the performance. Whom do we put into pathos? Put stars on pathos. I went to the beginning and sacrificed pathos. Poss. from the muses... Dictionary of Russian argot

Books

• Pathos of a work of art, E. G. Rudneva. The book examines the problems of the ideological orientation of a work of art, in methodological and theoretical aspect illuminated wide circle questions - about the specifics of artistic...

The meaning of the word "pathos" is literally translated (in Greek) as "passion", "suffering". Initially, it was introduced as a special term in the theory of eloquence in the field of oratory. In most cases, pathos manifests itself in people from higher social strata. A pretentious person is convinced of his exclusivity, he is sure that he knows about the world fashion trends and the current situation as a whole is better than anyone else.

What is pathos, and how to identify such people? Pretentious individuals love to be listened to attentively, even if they are just bragging or talking outright nonsense. For them, this is one of the ways of self-expression. In addition, such individuals predominantly communicate with people similar to themselves, since they intuitively feel that they will be listened to and, most importantly, understood.

In the literature, what pathos is is defined as follows. This is sometimes unnecessary, inappropriate and unfounded enthusiasm. As a rule, it can be found in the works of beginning authors who have not yet decided on the direction of their work and have not studied what was written by their predecessors on this topic. Pathos - what is it? This strong feeling the author, which he does not yet know how to express. There is nothing superfluous in naturalistic or descriptive literature. Pathos exists in several forms: romantic, satirical, heroic, sentimental, dramatic, and so on. Thanks to different types This literary device makes it possible to reveal works of art in a new way. For example, heroic pathos is necessary to assert the greatness of the main character. The sentimental and romantic views are somewhat similar, but the first is limited to the family and everyday manifestations of the characters’ feelings. A person inclined to such self-expression is predestined to live his life and enjoy the opportunities for self-realization.

Pathos in everyday life

Now let's look at what pathos is in ordinary life. It is a phenomenon of localized recklessness and euphoria. This condition manifests itself in a person in complex life situations and is characterized by a lack of real self-image. Pathos is an enthusiastic and inspired state of mind. This is the energy that gives a person a surge of emotions. This is how delight manifests itself, usually in an overly false and feigned way. The pathos state is characterized by solemn and pompous speeches, which often contain book turns.

It’s easy to understand what pathos is, but how can it be cured? If we consider this phenomenon as a disease, then the most important thing is to understand in time that you have no real friends. After all, pretentious people only fill their need for self-expression with the people around them. As soon as you realize that you have no friends, you need to start communicating with normal people who can tell you the whole truth to your face: that this style does not suit you, and so on. As a rule, after two or three months, a pretentious person begins to understand reality. But, unfortunately, many people with this approach to life are incurable.

The last element included in the ideological world of the work is pathos, which can be defined as the leading emotional tone of the work, its emotional mood. A synonym for the term “pathos” is the expression “emotional-value orientation.”

Analyze pathos in work of art- means to establish its typological variety, the type of emotional-value orientation, relationship to the world and man in the world. Epic-dramatic pathos represents a deep and undoubted acceptance of the world as a whole and oneself in it, which is the essence of the epic worldview. Epico-dramatic pathos is the maximum trust in the objective world in all its real versatility and inconsistency. Let us note that this type of pathos is rarely presented in literature, and even less often it appears in its pure form.

Homer's Iliad and Odyssey can be cited as works based generally on epic-dramatic pathos. The objective basis of the pathos of heroism is the struggle of individuals or groups for the implementation and defense of ideals, which are necessarily perceived as sublime. Another condition for the manifestation of the heroic in reality is the free will and initiative of man: forced actions, as Hegel pointed out, cannot be heroic. With heroism as pathos based on the sublime, other types of pathos that have a sublime character come into contact - first of all, tragedy and romance. Romance is related to heroism by the desire for a sublime ideal.

But if heroism is the sphere active action, then romance is an area of ​​emotional experience and aspiration that does not turn into action. The pathos of tragedy is the awareness of loss, and irreparable loss, of some important life values — human life, social, national or personal freedom, the possibility of personal happiness, cultural values, etc. Literary scholars and aestheticians have long considered the insoluble nature of a particular life conflict to be the objective basis of tragedy. In sentimentality - another type of pathos - we, as in romance, observe the predominance of the subjective over the objective.

The pathos of sentimentality often played a dominant role in the works of Richardson, Rousseau, and Karamzin. Moving on to consider the following typological varieties of pathos - humor and satire - we note that they are based on common basis comic. In addition to the subjective, irony as pathos also has objective specificity. Unlike all other types of pathos, it is not aimed at objects and phenomena of reality as such, but at their ideological or emotional understanding in one or another philosophical, ethical, or artistic system.

Pathos is emotional, subjective in relation to the author.

An idea is an understanding of a topic that leads to the author’s ideal. The problem is how the theme is conceptualized in the work.

Pathos - in the plot and characters - in artistic speech

Pathos = thoughts and feelings. In the Russian tradition, Belinsky was the first to use this concept. Pathos is the writer’s thought, which he experiences especially passionately. Pathos depends on a) the object of the image (hero) b) the subject of creativity (author)

Types of pathos:

a) heroic (heroes in myths) are assessed positive features character;

b) idyllic (people’s attitude towards nature, trusting relationship people to each other) positively depicts people’s relationships;

d) romantic (excited depiction of people’s characters);

g) comic - reality is ridiculed, criticized;

h) humor is a type of comic pathos, where contradictions are illuminated in such a way that the weaknesses of the heroes do not cause harm.

“The speaker spoke with great pathos. The pathos that sounded in the speaker’s words was transmitted to the listeners.” Who among us has not encountered similar phrases in newspaper articles, radio and television programs, books and on the Internet?

We will talk about what pathos is and in what cases this word is used in this article.

Pathos is a Greek word that denotes emotional speech or written text filled with elevated feelings that are intended to evoke a strong response in those who listen or read it.

Pathos is a well-known and long-used technique in poetry; it is no less widely used in propaganda and agitation. Another word that has approximately the same meaning and comes from the same Greek source is “pathetics”.

Examples of pathos:

"I will love you forever"
“Our business will survive centuries”
"Not an inch native land enemies."

In the speech of our contemporaries, pathos often looks unnatural and false, and people who use it in Everyday life- pompous and funny. Today, the definitions “pathos, pretentious” are usually used to designate people or phenomena that strive to give themselves significance, although they do not possess it at all.

However, in moments that evoke a strong emotional response, pathos is quite appropriate and sometimes even necessary. Pathetic phrases can often be found today in the speeches of politicians, especially during the election campaign or at significant historical moments in the life of the state. They are often found in literature, especially in poems dedicated to important historical events or expressing the strong emotions of the author.

In addition, Paphos is an ancient and beautiful city, a Greek resort on the island of Cyprus.

The ancient Greek philosopher Aristotle, who developed the foundations of rhetoric, is considered the founder of pathos in literature. Pathos is used to express strong, sublime emotions, inspiration, passion, and emotional distress.


This is a powerful technique, which is often intended to create sympathy for the characters. literary work, empathy for them and their actions.

Literary scholars distinguish the following types of pathos poets and writers:

Heroic pathos is used to demonstrate the emotional elation of the main character or team, whose actions are aimed at achieving humanistic goals: the struggle for the independence of their people or rights social group, striving for high ideals of spirituality. Often, heroic pathos is associated with the tragic experiences of heroes, torn apart by deep conflicting feelings: the desire for the common good and the impossibility of achieving personal happiness.

Dramatic pathos is the individual experiences of the characters associated with their inner world. Distinctive feature serves as the absence of a fundamental contradiction with external circumstances; the characters’ experiences have a psychological rather than a social background.

Romantic pathos is the desire of the main characters for a universal ideal; the conflict of the work lies in the unattainability of the ideal and in its contradiction with harsh reality.

Sentimental pathos also reflects the heroes’ desire for an ideal, but limits the scope of their emotions to family and everyday themes.

Humanistic pathos is the desire of the main characters for high humanistic ideals, their elevation and affirmation in spite of circumstances and the opposition of others.

Lyrical pathos - literary category, which reflects the leading emotional mood of the work, the totality of its lyrical digressions (if the work is narrative in nature) or the main theme (if it is a lyrical work).


The main task of lyrical pathos is to find an emotional response in the reader, to make him empathize with the characters. Sincere lyrical pathos creates the feelings necessary for the author, reinforcing the thoughts expressed in it.

P The last element included in the ideological world of the work is pathos, which can be defined as the leading emotional tone of a work, its emotional mood. A synonym for the term “pathos” is the expression “emotional-value orientation.” To analyze pathos in a work of art means to establish its typological variety, the type of emotional-value orientation, attitude towards the world and man in the world.

Epic-dramatic pathos represents a deep and undoubted acceptance of the world as a whole and oneself in it, which is the essence of the epic worldview. Epico-dramatic pathos is the maximum trust in the objective world in all its real versatility and inconsistency. Let us note that this type of pathos is rarely presented in literature, and even less often it appears in its pure form.

Homer's Iliad and Odyssey can be cited as works based generally on epic-dramatic pathos. The objective basis of the pathos of heroism is the struggle of individuals or groups for the implementation and defense of ideals, which are necessarily perceived as sublime. Another condition for the manifestation of the heroic in reality is the free will and initiative of man: forced actions, as Hegel pointed out, cannot be heroic. With heroism as pathos based on the sublime, other types of pathos that have a sublime character come into contact - first of all, tragedy and romance. Romance is related to heroism by the desire for a sublime ideal.

But if heroism is the sphere of active action, then romance is the region of emotional experience and aspiration that does not turn into action. The pathos of tragedy is the awareness of a loss, and an irreparable loss, of some important life values ​​- human life, social, national or personal freedom, the possibility of personal happiness, cultural values, etc. Literary scholars and aestheticians have long considered the insoluble nature of a particular life conflict to be the objective basis of tragedy. In sentimentality - another type of pathos - we, as in romance, observe the predominance of the subjective over the objective.

The pathos of sentimentality often played a dominant role in the works of Richardson, Rousseau, and Karamzin. Moving on to consider the following typological varieties of pathos - humor and satire - we note that they are based on the general basis of the comic. In addition to the subjective, irony as pathos also has objective specificity. Unlike all other types of pathos, it is not aimed at objects and phenomena of reality as such, but at their ideological or emotional

Types of pathos:

a) heroic (heroes in myths) positive character traits are assessed

b) idyllic (people’s relationship with nature, people’s trusting relationships with each other) positively depicts people’s relationships

d) romantic (excited depiction of people’s characters)

g) comic – reality is ridiculed, criticized

h) humor is a type of comic pathos, where contradictions are illuminated in such a way that the weaknesses of the heroes do not cause harm.

The plot of a literary work. Plot components. Plot and plot.

Plot is an artistically appropriate system of described events, which the author presents in such a sequence and using such literary forms and techniques that most fully meet his creative task.

Types of plot

It is customary to distinguish between a concentric plot and a chronicle plot. IN concentric plot everything is simple and clear: the author explores only one conflict, and the elements of the composition are easy to identify and name, since they come one after another. Here, all episodes will have a cause-and-effect relationship, and the entire text will be permeated with clear logic: no chaos, no compositional violations. Even if the work involves several storylines, all events will be interconnected according to the principle of links in one chain. With a chronological plot, everything is somewhat different: here the cause-and-effect relationships may be broken or completely absent. In addition, some elements of the composition may simply not exist.

Plot components. In most stories classical works the course of events more or less corresponds to the life logic of the development of events. As a rule, such plots are based on conflict, so the location and relationship of events in the plot are determined by the development of the conflict.

A conflict-based plot may include the following components: exposition, beginning of the action, development of the action, climax, resolution of the action.

1. Exposition. What the work begins with. What motivates the reader to continue the story. What could have happened a year ago, ten years ago with this or that character. Sometimes the exposition resembles the myth of the creation of the world: it is it that gives impetus to everything that exists, but does not particularly affect anything. It also happens that the exposition echoes the epilogue or is an episode from the middle of the book. In a word, you start reading, thinking and waiting. These are the primary tasks of the prologue.

2. The beginning. At this stage, it already becomes clear that a conflict is not far off. More precisely, right now it appears: at first slowly and imperceptibly, as if in a dotted line. And a little further it becomes more obvious and intense. Usually this is a meeting of two heroes who are destined to walk together along the road of life and dot all the i’s. By the way, conflict is not always something bad and sharply negative. This is just a collision of someone or something: points of view, lifestyles, situations, people, etc. Love, by the way, is also a conflict. And what a one!

3. Development of action. The reader is already involved in what is happening, knows the names of the characters, how they live and how they think. He already understands what is happening, but continues to closely follow the development of the plot, intrigued and at a loss. Usually, this stage- the most significant part of the book, when the writer leads the reader into his imaginary world.

4. Climax is the highlight of any text, it is a sea of ​​emotions, a storm of feelings and sharp actions. Usually, readers' eyes are already burning, they devour page after page and cannot stop, even if urgent matters await them. In this case, the nerves are strained to the limit, the head is torn from the most unthinkable assumptions. Someone can hardly breathe anymore and then... fireworks! After which you can finally remember that you need to breathe.

5. The denouement is a kind of opening of the curtain. You find out who killed the old woman, whose son broke the vase and who wrote anonymous letters to the heroine all this time. The tension gradually subsides, you can already inhale and exhale evenly, your heartbeat evens out, and thoughts flash like this: “Wow, that’s what I thought.” Or: “But how is this possible?”

6. Epilogue. Usually it talks about what happened to the characters next. Who got married, who fell in love and how many children they had. The first few paragraphs are devoted to the main characters, and then the author briefly outlines later life minor characters.

Plot and plot... What's the difference?

Usually these two concepts are confused and passed off as one another. Therefore, let us first turn to etymology. If the word “plot” literally meant “subject,” then fabula is closest to the verb “to tell” (if you follow the Latin language).

Both the plot and the plot can be retold, but the question is how to do it: the plot is the sequence of events in their chronological order, the plot does not adhere to such an order and can contain events taking place in different time periods.

Another significant difference is that the plot is a condensed retelling of the most important thing, and the plot can contain, in addition to the main components of the composition, also all kinds of lyrical digressions(like Gogol in “Dead Souls” or Pushkin in “Eugene Onegin”).

Finally, the third point is as follows. The plot is the development of the conflict itself. And the plot is also the scenery against which the conflict unfolds.