home
Practical psychology
What is the hero of a work in literature. Heroes are ordinary people

What is the hero of a work in literature. Heroes are ordinary people

08.03.2019

Hero of a literary work - actor in work of art, which has distinct traits of character and behavior, a certain attitude towards other actors and life phenomena shown in the work.

A hero is often called any multilaterally depicted character in a work. Such a main or one of the main characters can be a positive artistic image, a positive hero, expressing traits in his views, actions, experiences. advanced man of his time and causing the reader to desire to become like him, to follow him in life. Positive heroes are many heroes of the works of Russian classics, for example: Chatsky, Tatyana Larina, Mtsyri, Taras Bulba, Insarov and others. Heroes for a number of generations of revolutionaries were the heroes of the novel by N. G. Chernyshevsky “What is to be done?” - Vera Pavlovna and Rakhmetov, the hero of the novel by A. M. Gorky "Mother" - Pavel Vlasov.

The main or one of the main characters can also be a negative image, in the behavior and experiences of which the writer shows people with backward or reactionary views hostile to the people, causing anger and disgust with their attitude to their homeland, to people. So negative artistic image helps to understand reality more deeply, shows what the writer condemns and thus what he considers positive in life, causes a desire to fight negative phenomena in it.

Russian classic literature created a number of negative images: Chichikov, Plyushkin, Khlestakov and others in the works of N. V. Gogol, Karenin (“Anna Karenina” by L. N. Tolstoy), Judas Golovlev (“Lord Golovlevs” by M. E. Saltykov-Shchedrin), Mayakin , Vassa Zheleznova, Klim Samgin and others in the works of A. M. Gorky.

Soviet writers created a gallery of new goodies, in the image of which the features of a person of a socialist society were reflected.

Such, for example, are Chapaev and Klychkov in the works of D. Furmanov, Levinson and others in A. Fadeev's novel "The Rout", communists and underground members of the Komsomol in his novel "The Young Guard", Davydov ("Virgin Soil Upturned" by M. A. Sholokhov) , Pavel Korchagin and his comrades-in-arms in N. Ostrovsky’s work “How Steel Was Tempered”, Basov (“Derbent Tanker” by Y. Krymov), Vorobyov and Meresyev in B. Polevoy’s “The Tale of a Real Man”, etc. Along with this Soviet writers(A. A. Fadeev, A. N. Tolstoy, M. A. Sholokhov, L. M. Leonov and others) created a number of negative images - White Guards, kulaks, fascists, adventurers, fake people, etc.

It is clear that in literature, as in life, a person appears in the process of growth, in development, in the struggle of contradictions, in the interweaving of positive and negative properties. Therefore, we meet in the literature the most various characters, which are only ultimately referred to as positive and negative images. These concepts express the most sharply demarcated types of images. In almost every given literary work, they receive a concrete embodiment in the most various forms and shades. It should be emphasized that in Soviet literature, the most important task of which is the image of the advanced fighters for communism, the creation of the image of a positive hero is of primary importance.

It would be more correct to call the hero only the positive hero of the work - the protagonist, whose actions and thoughts can be, from the point of view of the writer, an example of behavior for a person. Unlike goodies, other people depicted in works are better called artistic images, actors, or, if they do not affect the development of events in the work, characters.

Copyright Contest -K2
The word "hero" ("heros" - Greek) means a demigod or a deified person.
Among the ancient Greeks, the heroes were either half-breeds (one of the parents is a god, the second is a man), or outstanding men who became famous for their deeds, for example, military exploits or travels. But, according to anyone, the title of a hero gave a person a lot of advantages. He was worshiped, poems and other songs were composed in his honor. Gradually, gradually, the concept of "hero" migrated to literature, where it has stuck to this day.
Now, in our understanding, a hero can be both a “noble man” and a “bad man” if he acts within the framework of a work of art.

The term "character" is adjacent to the term "hero", and often these terms are perceived as synonyms.
persona in Ancient Rome called the mask that the actor put on before the performance - tragic or comic.

Hero and character are not the same thing.

A LITERARY HERO is an exponent of a plot action that reveals the content of a work.

A CHARACTER is any character in a work.

The word "character" is characteristic in that it does not carry any additional meanings.
Take, for example, the term "actor". It is immediately clear that it - must act = perform actions, and then a whole bunch of heroes do not fit this definition. Starting from Papa Pippi Longstocking, the mythical sea captain, and ending with the people in Boris Godunov, who, as always, is “silent”.
The emotional-evaluative coloring of the term "hero" implies exclusively positive qualities = heroism \ heroism. And then it will not fall under this definition yet more people. Well, how, say, to call Chichikov or Gobsek a hero?
And now literary critics are fighting with philologists - who should be called a “hero”, and who should be called a “character”?
Who will win, time will tell. For now, we'll keep it simple.

The hero is an important character for expressing the idea of the work. And the characters are everything else.

A little later we will talk about the system of characters in a work of art, there we will talk about the main (heroes) and secondary (characters).

Let's take a look at a couple more definitions.

LYRICAL HERO
concept lyrical hero was first formulated by Yu.N. Tynyanov in 1921 in relation to the work of A.A. Blok.
Lyrical hero - the image of a hero in lyrical work, experiences, feelings, whose thoughts reflect the author's worldview.
The lyrical hero is not an autobiographical image of the author.
Can't say " lyrical character"- only a" lyrical hero ".

THE IMAGE OF THE HERO is an artistic generalization of human properties, character traits in the individual appearance of the hero.

LITERARY TYPE is a generalized image of human individuality, the most characteristic of a certain social environment in certain time. It combines two sides - the individual (single) and the general.
Typical does not mean average. The type concentrates in itself all the most striking, characteristic of a whole group of people - social, national, age, etc. For example, the type of a Turgenev girl or a lady of Balzac age.

CHARACTER AND CHARACTER

AT modern literary criticism character is the unique personality of the character, his inner appearance, that is, what distinguishes him from other people.

Character consists of diverse traits and qualities that are not randomly combined. In every character there is a main, dominant feature.

Character can be simple or complex.
A simple character is distinguished by integrity and static. The hero is either positive or negative.
Simple characters are traditionally paired, most often on the basis of the opposition "bad" - "good". Contrasting sharpens the merits of positive heroes and detracts from the merits of negative heroes. Example - Shvabrin and Grinev in The Captain's Daughter
A complex character is a constant search for the hero himself, the spiritual evolution of the hero, etc.
A complex character is very difficult to label "positive" or "negative." It contains contradictions and paradoxes. As in Captain Zheglov, who almost put poor Gruzdev in jail, but easily gave the ration cards to Sharapov's neighbor.

STRUCTURE OF A LITERARY HERO

A literary hero is a complex and multifaceted person. It has two forms - external and internal.

On creation appearance hero work:

PORTRAIT. This face, figure, distinctive features physique (for example, Quasimodo's hump or Karenin's ears).

CLOTHING, which can also reflect certain character traits of the hero.

SPEECH, the features of which characterize the hero no less than his appearance.

AGE, which determines the potential for certain actions.

PROFESSION, which shows the degree of socialization of the hero, determines his position in society.

LIFE STORY. Information about the origin of the hero, his parents / relatives, the country and place where he lives, gives the hero a sensually tangible realism, historical concreteness.

The internal appearance of the hero consists of:

WORLD VIEWS AND ETHICAL BELIEFS, which endow the hero with value orientations, give meaning to his existence.

THOUGHTS AND ATTITUDES that outline the diverse life of the hero's soul.

FAITH (or lack thereof), which determines the presence of the hero in the spiritual field, his attitude towards God and the Church.

STATEMENTS AND ACTIONS, which denote the results of the interaction of the soul and spirit of the hero.
The hero can not only reason, love, but also be aware of emotions, analyze his own activity, that is, reflect. Artistic reflection allows the author to reveal the personal self-esteem of the hero, to characterize his attitude towards himself.

CHARACTER DEVELOPMENT

So, a character is a fictional animated person with a certain character and unique external data. The author must come up with these data and convincingly convey to the reader.
If the author does not do this, the reader perceives the character as cardboard and is not included in his experiences.

Character development is a rather time-consuming process and requires skill.
Most effective way is to write out on a separate sheet of paper all the personality traits of your character that you want to present to the reader. Straight to the point.
The first point is the appearance of the hero (fat, thin, blond, brunette, etc.). The second point is age. The third is education and profession.
Be sure to answer (first of all, to yourself) the following questions:
How does the character relate to other people? (sociable / withdrawn, sensitive / callous, respectful / rude)
- How does the character feel about his work? (hardworking/lazy, prone to creativity/routine, responsible/irresponsible, initiative/passive)
How does the character feel about himself? (has a feeling dignity, self-critical, proud, modest, impudent, conceited, arrogant, touchy, shy, selfish)
- How does the character feel about his things? (neat/sloppy, careful about things/sloppy)
The choice of questions is not accidental. The answers to them will give a FULL picture of the personality of the character.
It is better to write down the answers and keep them in front of your eyes throughout the work on the work.
What will it give? Even if in the work you will not mention ALL QUALITIES of a person (for secondary and episodic characters it is not rational to do this), then all the same, the FULL understanding of the author of his characters will be conveyed to the reader and make their images voluminous.

ARTISTIC DETAILS play a huge role in the creation/disclosure of character images.

An artistic detail is a detail that the author endowed with a significant semantic and emotional load.
A bright detail replaces whole descriptive fragments, cuts off unnecessary details that obscure the essence of the matter.
An expressive, well-found detail is evidence of the author's skill.

I would especially like to note such a moment as the CHOICE OF THE NAME OF THE CHARACTER.

According to Pavel Florensky, "names are the essence of the category of personality cognition." Names are not just called, but actually declare the spiritual and physical essence of a person. They form special models of personal existence, which become common for each bearer of a certain name. Names predetermine spiritual qualities, deeds and even the fate of a person.

The existence of a character in a work of art begins with the choice of his name. It is very important how you name your hero.
Compare the variants of the name Anna - Anna, Anka, Anka, Nyura, Nyurka, Nyusha, Nyushka, Nyusya, Nyuska.
Each of the options crystallizes certain personality traits, gives the key to character.
Once you've decided on a character's name, don't (unnecessarily) change it as you go along, as this can confuse the reader's perception.
If in life you tend to call friends and acquaintances diminutively, affectionately, disparagingly (Svetka, Mashulya, Lenusik, Dimon), control your passion in writing. In a work of art, the use of such names must be justified. Numerous Vovkas and Tanki look terrible.

CHARACTER SYSTEM

The literary hero is a brightly individual and at the same time distinctly collective person, that is, he is born public environment and interpersonal relationships.

It is unlikely that only one hero will act in your work (although this has happened). In most cases, the character is at the point where the three rays intersect.
The first is friends, associates (friendly relations).
The second is enemies, ill-wishers (hostile relations).
Third - others strangers(neutral relationship)
These three rays (and the people in them) create a strict hierarchical structure or CHARACTER SYSTEM.
Characters are divided by the degree of author's attention (or the frequency of the image in the work), the purpose and functions that they perform.

Traditionally, there are main, secondary and episodic characters.

THE MAIN CHARACTER(S) is always at the center of the work.
The protagonist actively explores and transforms artistic reality. Its character (see above) predetermines events.

Axiom - main character must be bright, that is, its structure must be spelled out thoroughly, no gaps are allowed.

The SECONDARY CHARACTERS are, although next to the main character, but somewhat behind, in the background, so to speak, on the plane of the artistic image.
Characters and portraits of secondary characters are rarely detailed, more often appear dotted. These heroes help the main to open up and ensure the development of the action.

Axiom - minor character cannot be brighter than the main one.
Otherwise, he will pull the blanket over himself. An example from a related field. The film "Seventeen Moments of Spring". Remember the girl who molested Stirlitz in one of latest episodes? (“Mathematicians say about us that we are terrible crackers .... But in love I am Einstein ...”).
In the first edition of the film, the episode with her was much longer. Actress Inna Ulyanova was so good that she drew all the attention to herself and distorted the scene. Let me remind you that there Stirlitz was supposed to receive an important encryption from the center. However, no one remembered the encryption anymore, everyone reveled in the bright clowning of the EPISODIC (completely passing) character. Ulyanov, of course, is sorry, but the director Lioznova made the absolutely right decision and cut out this scene. An example for reflection, however!

EPISODIC HEROES are on the periphery of the world of the work. They may have no character at all, act as passive executors of the author's will. Their functions are purely official.

POSITIVE and NEGATIVE HEROES usually divide the system of characters in the work into two warring groups (“reds” - “whites”, “ours” - “fascists”).

The theory of dividing characters BY ARCHETYPES is interesting.

The archetype is the primary idea expressed in symbols and images and underlying everything.
That is, each character in the work should serve as a symbol of something.

According to the classics, there are seven archetypes in literature.
So, the main character can be:
- The Protagonist - the one who "accelerates the action", the real Hero.
- Antagonist - completely the opposite of the Hero. I mean, villain.
- Guardian, Sage, Mentor and Assistant - those who assist the Protagonist

The secondary characters are:
- Bosom friend - symbolizes support and faith in the main character.
- Skeptic - questions everything that happens
- Reasonable - makes decisions based solely on logic.
- Emotional - reacts only with emotions.

For example, Rowling's Harry Potter novels.
The main character is undoubtedly Harry Potter himself. He is opposed by the Villain - Voldemort. Professor Dumbledore = Sage appears periodically.
And Harry's friends are the sensible Hermione and the emotional Ron.

In conclusion, I want to talk about the number of characters.
When there are a lot of them, this is bad, since they will begin to duplicate each other (there are only seven archetypes!). The competition among the characters will cause discoordination in the minds of the readers.
The most reasonable thing is to stupidly check your heroes by archetypes.
For example, you have three old women in your novel. The first is cheerful, the second is smart, and the third is just a lonely grandmother from the first floor. Ask yourself - what do they embody? And you will understand that a lonely old woman is superfluous. Her phrases (if there are any at all) can be passed on to the second or first (to the old women). This way you will get rid of unnecessary verbal noise, concentrate on the idea.

After all, “The idea is the tyrant of the work” (c) Egri.

Of course, any hero in a literary work is a character, but not every character is recognized as a "hero". The word hero usually denotes the main character, the “carrier of the main event” (M. M. Bakhtin) in a literary work, as well as a significant point of view for the author-creator on reality, on himself and other characters, in other words, that Other, consciousness and whose deed express for the author the essence of the world he creates.

A work, especially an epic and dramatic one, as a rule, contains a hierarchy of depicted faces, so that “persons of the second plan” are perceived as “auxiliary”, necessary not by themselves, but for the illumination and understanding of “persons of the first plan”. Such, for example, is Fenichka's function in Fathers and Sons.

The so-called “naive realism” and the disputes with the characters arising from such a perception of art, and even the trial of them (see, for example, V. Kaverin’s novel “Two Captains”), are connected with the first plan persons. They are also associated with the reader’s feeling of full rights and special independence of the hero, which “the author is forced to reckon with” (cf. L. Tolstoy’s well-known confession that Vronsky “suddenly and unexpectedly began to shoot himself” or Pushkin’s apocryphal phrase about Tatyana, who “took , but jumped out married").

The hero can be distinguished from other characters primarily by its importance for the development of the plot: without his participation, the main plot events cannot take place. So, in a fairy tale, only the main character is given to achieve the goal (located in another world) and return alive; so it is in the epic, where without Achilles victory in the war is impossible or without Odysseus - the decision of the fate of Penelope and at the same time Ithaca.

All leading characters, i.e. heroes of "War and Peace" take direct participation either in the battle of Borodino, or in the subsequent abandonment of Moscow; but not only this distinguishes them from other characters: world events simultaneously - and major events them inner life(Thus, it is on the eve of the decisive battle that Pierre perceives the words of a soldier: “They want to pile on with the whole world” as a formula for that human unity that he was always looking for).

The hero opposes other characters and as the subject of statements that dominate the speech structure of the work. The second criterion is especially important in works of the epistolary, confessional or diary form (heroes are the "authors" of letters, diaries, etc.) or in cases with reasoning characters in epic, where they may not have plot functions (cf. for example, Potugin in Turgenev's "Smoke").

In the lyrics of the XIX-XX centuries. in addition to the most traditional subject of speech and the bearer of a lyrical event, who is considered a literary hero, but not a character (“lyrical “I”, “lyrical hero”), there is also a “hero of role lyrics”, i.e., in essence, a character - the subject of speech, whose statement for the author is not so much a means as an object of depiction (cf., for example, the coachman in N. Nekrasov's poem "On the Road" or the characters of many poems by V. Vysotsky, in which he, in his own words, speaks "from the skin of a hero").

Thus, it is necessary to take into account the differences in the roles of the depicted persons in the plot. In a fairy tale, one can distinguish between the "private" functions of most characters - donors, pests, helpers - and the "general" function of a single hero: he must go where a living person does not have to go and, even more difficult, return from where no one comes from. is not returned.

This plot function of the hero stems from the structure of the world (two worlds) and is necessary for the preservation and restoration of the entire world order that was disturbed at the beginning (it is no coincidence that “from there” they bring or bring into our world not only such things as rejuvenating apples but also the bride). And it is necessary to return the stolen Sita in the Ramayana so that the Earth continues to bear fruit.

This original meaning of the concept of "hero" in the course of history is by no means lost: for example, Onegin's meetings with Tatiana or Raskolnikov's crime for the historical future of the depicted national peace no less significant than the actions of heroes, epics for the destinies of peoples and states.

Among the characters acting in the work, the hero is also distinguished by initiative, as well as the ability to overcome obstacles that are insurmountable for others. In archaic ( fairy tale, heroic epic) his initiative indistinguishably coincides with the realization of universal necessity - this is the basis of heroics.

In literature, the question of choice plays the most important formative and semantic role. In the fairy tale, he is absent, but in the epic, the choice of the hero is predetermined. For example, as a hero, Achilles cannot refuse glory, despite the inevitability of death; just as Odysseus, despite the mortal risk, is forced to abandon his trick with the name Nobody after the blinding of Polyphemus: there is no hero without glory, and thus without a name. This freedom has positive character because rewards or fame always correspond to merit.

Initiative literary hero does not necessarily have to be active-combat; it can also be passive-passive (heroes Greek novel or hagiography) or combine both on an equal footing (“The Steadfast Prince” by Calderon). In addition, this initiative may be primarily ideological-linguistic, rather than practical-effective.

So, Pechorin's life task is a philosophical search and a spiritual experiment, which finds only an indirect and inadequate reflection in his actions, to a greater extent determining the nature of the narrative in his Journal (directly merges one with the other only in the plot of the Fatalist). And in Crime and Punishment, murder is viewed as an attempt to "say a new word," so that the hero's activity switches from the realm of the plot to a largely extra-plot dialogue.

Theory of Literature / Ed. N.D. Tamarchenko - M., 2004

Meaning of HERO LITERARY in the Dictionary of Literary Terms

HERO LITERARY

The main or one of the main characters in a prose or dramatic work, the artistic image of a person, which is both the subject of action and the object of the author's research. Special meaning acquires the concept of G. l. in fairy tales and fables, where they can act (and, therefore, be called G. l.) fantasy creatures, animals or objects, but more often they are referred to as characters or actors. Wed character, protagonist

Dictionary of literary terms. 2012

1. Ilya Muromets

Epics about Ilya Muromets

Hero Ilya Muromets, son of Ivan Timofeevich and Efrosinya Yakovlevna, peasants of the village of Karacharova near Murom. The most popular epic character, the second most powerful (after Svyatogor) Russian hero and the first domestic superman.

Sometimes a real person is identified with the epic Ilya Muromets, the Monk Ilya of the Caves, nicknamed Chobotok, buried in the Kiev-Pechersk Lavra and canonized in 1643.

Years of creation. 12th–16th centuries

What is the point. Until the age of 33, Ilya lay, paralyzed, on the stove in his parents' house, until he was miraculously healed by wanderers ("passing stones"). Having gained strength, he arranged his father's household and went to Kyiv, along the way capturing Nightingale the Robber, who terrorized the neighborhood. In Kyiv, Ilya Muromets joined the squad of Prince Vladimir and found the hero Svyatogor, who gave him the sword-treasurer and the mystical "real power". In this episode, he demonstrated not only physical strength, but also high moral qualities, not responding to the advances of Svyatogor's wife. Later, Ilya Muromets defeated the “great force” near Chernigov, paved the direct road from Chernigov to Kyiv, inspected the roads from Alatyr-stone, tested the young hero Dobrynya Nikitich, rescued the hero Mikhail Potyk from captivity in the Saracen kingdom, defeated Idolishche, walked with his squad to Tsargrad, one defeated the army of Kalin Tsar.

Ilya Muromets was not alien to simple human joys: in one of the epic episodes, he walks around Kyiv with “tavern goals”, and his offspring Sokolnik was born out of wedlock, which later leads to a fight between father and son.

What does it look like. Superman. Epics describe Ilya Muromets as "a remote, burly good fellow", he fights with a club "in ninety pounds" (1440 kilograms)!

What is he fighting for. Ilya Muromets and his squad very clearly formulate the purpose of their service:

“... stand alone for the faith for the fatherland,

... to stand alone for Kyiv-grad,

... to stand alone for the churches for the cathedral,

... he will save the prince and Vladimir.

But Ilya Muromets is not only a statesman - he is also one of the most democratic fighters against evil, as he is always ready to fight "for widows, for orphans, for poor people."

The way to fight. A duel with the enemy or a battle with superior enemy forces.

With what result. Despite the difficulties caused by the numerical superiority of the enemy or the dismissive attitude of Prince Vladimir and the boyars, he invariably wins.

What is it fighting against? Against the internal and external enemies of Rus' and their allies, violators of law and order, illegal migrants, invaders and aggressors.

2. Archpriest Avvakum

"The Life of Archpriest Avvakum"

Hero. Archpriest Avvakum made his way from a village priest to the leader of the resistance to church reform, Patriarch Nikon, and became one of the leaders of the Old Believers, or schismatics. Avvakum is the first religious figure of this magnitude, who not only suffered for his beliefs, but also described it himself.

Years of creation. Approximately 1672–1675.

What is the point. A native of the Volga village, Avvakum from his youth was distinguished by both piety and violent temper. Having moved to Moscow, he took an active part in church and educational activities, was close to Tsar Alexei Mikhailovich, but sharply opposed the church reforms carried out by Patriarch Nikon. With his characteristic temperament, Avvakum waged a fierce struggle against Nikon, advocating the old order of church ritual. Avvakum, not at all embarrassed in expressions, conducted public and journalistic activities, for which he repeatedly went to prison, was cursed and defrocked, and was exiled to Tobolsk, Transbaikalia, Mezen and Pustozersk. From the place of the last exile, he continued to write appeals, for which he was imprisoned in an "earthen pit". Had many followers. Church hierarchs tried to persuade Avvakum to renounce his "delusions", but he remained adamant and was eventually burned.

What does it look like. One can only guess: Avvakum did not describe himself. Maybe this is how the priest looks like in Surikov’s painting “Boyar Morozova” - Feodosia Prokopyevna Morozova was a faithful follower of Avvakum.

What is he fighting for. For the purity of the Orthodox faith, for the preservation of tradition.

The way to fight. Word and deed. Avvakum wrote accusatory pamphlets, but he could personally beat the buffoons who entered the village and break their musical instruments. Considered self-immolation as a form of possible resistance.

With what result. Avvakum's passionate sermon against church reform made resistance to it massive, but he himself, along with three of his associates, was executed in 1682 in Pustozersk.

What is it fighting against? Against the desecration of Orthodoxy by "heretical novelties", against everything alien, "external wisdom", that is, scientific knowledge, against entertainment. He suspects the imminent coming of the Antichrist and the reign of the devil.

3. Taras Bulba

"Taras Bulba"

Hero.“Taras was one of the indigenous, old colonels: he was all created for abusive anxiety and was distinguished by the rude directness of his temper. Then the influence of Poland was already beginning to appear on the Russian nobility. Many already adopted Polish customs, started luxury, magnificent servants, falcons, hunters, dinners, courtyards. Taras didn't like it. He loved the simple life of the Cossacks and quarreled with those of his comrades who were inclined towards the Warsaw side, calling them serfs of the Polish lords. Eternally restless, he considered himself the legitimate defender of Orthodoxy. Arbitrarily entered the villages, where they only complained about the harassment of tenants and the increase in new duties on smoke. He himself carried out reprisals against his Cossacks and made it a rule for himself that in three cases one should always take up a saber, namely: when the commissars did not respect the foremen in anything and stood in front of them in hats, when they mocked Orthodoxy and did not honor the ancestral law, and, finally, when the enemies were the Busurmans and the Turks, against whom he considered it at least permissible to take up arms for the glory of Christianity.

Year of creation. The story was first published in 1835 in the collection Mirgorod. The edition of 1842, in which, in fact, we all read Taras Bulba, differs significantly from the original version.

What is the point. Throughout his life, the dashing Cossack Taras Bulba has been fighting for the liberation of Ukraine from oppressors. He, the glorious ataman, cannot bear the thought that his own children, flesh of his flesh, may not follow his example. Therefore, Taras kills Andriy's son, who betrayed the sacred cause, without hesitation. When another son, Ostap, is captured, our hero deliberately penetrates into the heart of the enemy camp - but not in order to try to save his son. His only goal is to make sure that Ostap, under torture, did not show cowardice and did not renounce high ideals. Taras himself dies like Joan of Arc, having previously presented Russian culture with the immortal phrase: “There are no bonds holier than camaraderie!”

What does it look like. Extremely heavy and fat (20 pounds, in terms of - 320 kg), gloomy eyes, black-white eyebrows, mustache and forelock.

What is he fighting for. For the liberation of the Zaporozhian Sich, for independence.

The way to fight. Military actions.

With what result. With deplorable. All died.

What is it fighting against? Against oppressor Poles, foreign yoke, police despotism, old-world landowners and court satraps.

4. Stepan Paramonovich Kalashnikov

"A song about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov"

Hero. Stepan Paramonovich Kalashnikov, merchant class. Trades in silks - with varying degrees of success. Moskvich. Orthodox. Has two younger brothers. He is married to the beautiful Alena Dmitrievna, because of whom the whole story came out.

Year of creation. 1838

What is the point. Lermontov was not fond of the theme of Russian heroism. He wrote romantic poems about nobles, officers, Chechens and Jews. But he was one of the first to find out that the 19th century is rich only in the heroes of his time, but heroes for all time should be sought in the deep past. There, in the Moscow of Ivan the Terrible, a hero was found (or rather, invented) with the now speaking surname Kalashnikov. The young oprichnik Kiribeevich falls in love with his wife and attacks her at night, persuading her to surrender. The next day, the offended husband challenges the oprichnik to a fistfight and kills him with one blow. For the murder of his beloved oprichnik and for the fact that Kalashnikov refuses to name the reason for his act, Tsar Ivan Vasilyevich orders the execution of a young merchant, but does not leave his widow and children with mercy and care. Such is royal justice.

What does it look like.

"His falcon eyes are burning,

He looks at the oprichnik intently.

Opposite him, he becomes

Pulls on combat gloves

Mighty shoulders straightens.

What is he fighting for. For the honor of his woman and family. Kiribeevich's attack on Alena Dmitrievna was seen by the neighbors, and now she cannot appear before the eyes of honest people. Although, going out to fight with the guardsman, Kalashnikov solemnly declares that he is fighting "for the holy truth-mother." But heroes sometimes distort.

The way to fight. Fatal fistfight. In fact, a murder in broad daylight in front of thousands of witnesses.

With what result.

“And they executed Stepan Kalashnikov

Death is fierce, shameful;

And the untalented head

She rolled on the chopping block in blood.

But on the other hand, Kiribeevich was also buried.

What is it fighting against? Evil in the poem is personified by an oprichnik with a foreign patronymic Kiribeevich, and even a relative of Malyuta Skuratov, that is, an enemy squared. Kalashnikov calls him "basurman's son", alluding to his enemy's lack of Moscow registration. And the first (and also the last) blow this person of eastern nationality inflicts not on the face of a merchant, but on an Orthodox cross with relics from Kyiv, which hangs on a valiant chest. He says to Alena Dmitrievna: “I am not a thief, a forest murderer, / I am a servant of the king, the terrible king ...” - that is, he hides behind the highest mercy. So the heroic act of Kalashnikov is nothing but a deliberate murder on the basis of ethnic hatred. Lermontov, who himself participated in the Caucasian campaigns and wrote a lot about the wars with the Chechens, the theme of "Moscow for Muscovites" in its anti-Basurman section was close.

5. Danko "Old Woman Izergil"

Hero Danko. Biography unknown.

“In the old days, only people lived in the world, impenetrable forests surrounded the camps of these people on three sides, and on the fourth there was a steppe. They were cheerful, strong and courageous people ... Danko is one of those people ... "

Year of creation. The short story "Old Woman Izergil" was first published in Samarskaya Gazeta in 1895.

What is the point. Danko is the fruit of the irrepressible imagination of the very old woman Izergil, whose name is Gorky's short story. A sultry Bessarabian old woman with a rich past tells a beautiful legend: at the time of the ona, there was a redistribution of property - there were disassemblies between the two tribes. Not wishing to remain in the occupied territory, one of the tribes went into the forest, but there the people suffered a massive depression, because "nothing - neither work nor women exhaust the bodies and souls of people as exhausting dreary thoughts." At a critical moment, Danko did not allow his people to bow to the conquerors, but instead offered to follow him - in an unknown direction.

What does it look like.“Danko… a handsome young man. The beautiful are always bold.

What is he fighting for. Go know. For getting out of the forest and thereby ensuring freedom for your people. Where are the guarantees that freedom is exactly where the forest ends, it is not clear.

The way to fight. An unpleasant physiological operation, indicating a masochistic personality. Self-dismemberment.

With what result. With dual. He got out of the forest, but died immediately. Sophisticated mockery of one's own body does not go in vain. The hero did not receive gratitude for his feat: his heart, torn from his chest with his own hand, was trampled under someone's heartless heel.

What is it fighting against? Against collaborationism, conciliation and cringing before the conquerors.

6. Colonel Isaev (Stirlitz)

Corpus of texts, from "Diamonds for the Dictatorship of the Proletariat" to "Bomb for the Chairman", the most important of the novels - "Seventeen Moments of Spring"

Hero. Vsevolod Vladimirovich Vladimirov, aka Maxim Maksimovich Isaev, aka Max Otto von Stirlitz, aka Estilitz, Bolsen, Brunn. An employee of the press service of the Kolchak government, an underground Chekist, intelligence officer, professor of history, exposing the conspiracy of the followers of Nazism.

Years of creation. Novels about Colonel Isaev were created over 24 years - from 1965 to 1989.

What is the point. In 1921, Chekist Vladimirov liberates the Far East from the remnants of the White Army. In 1927, they decided to send him to Europe - it was then that the legend of the German aristocrat Max Otto von Stirlitz was born. In 1944, he saved Krakow from destruction by helping the group of Major Whirlwind. At the very end of the war, he was entrusted with the most important mission - the disruption of separate negotiations between Germany and the West. In Berlin, the hero does his hard work, saving the radio operator Kat along the way, the end of the war is already close, and the Third Reich is collapsing to the song of Marika Rekk "Seventeen Moments of April". In 1945, Stirlitz was awarded the title of Hero of the Soviet Union.

What does it look like. From the party characteristics of a member of the NSDAP since 1933 von Stirlitz, SS Standartenführer (VI department of the RSHA): “A true Aryan. Character - Nordic, seasoned. Maintains good relations with co-workers. Fulfills his duty without fail. Merciless to the enemies of the Reich. Excellent athlete: Berlin tennis champion. Single; he was not noticed in connections discrediting him. Marked with awards from the Fuhrer and thanks from the Reichsfuehrer SS ... "

What is he fighting for. For the victory of communism. It is unpleasant for oneself to admit this, but in some situations - for the motherland, for Stalin.

The way to fight. Intelligence and espionage, in some places the deductive method, ingenuity, skill-disguise.

With what result. On the one hand, he saves everyone who needs it and successfully carries out subversive activities; reveals covert intelligence networks and defeats the main enemy - Gestapo chief Muller. However, the Soviet country, for the honor and victory of which he is fighting, thanks his hero in his own way: in 1947, he, who had just arrived in the Union on a Soviet ship, was arrested, and by order of Stalin, his wife and son were shot. Stirlitz is released from prison only after the death of Beria.

What is it fighting against? Against whites, Spanish fascists, German Nazis and all enemies of the USSR.

7. Nikolai Stepanovich Gumilyov "Look into the eyes of monsters"

Hero Nikolai Stepanovich Gumilyov, symbolist poet, superman, conquistador, member of the Order of the Fifth Rome, arbiter of Soviet history and fearless destroyer of dragons.

Year of creation. 1997

What is the point. Nikolai Gumilyov was not shot in 1921 in the dungeons of the Cheka. From execution, he was saved by Yakov Wilhelmovich (or James William Bruce), a representative of the secret Order of the Fifth Rome, created back in the 13th century. Having acquired the gift of immortality and power, Gumilyov walks through the history of the 20th century, generously leaving his traces in it. He puts Marilyn Monroe to bed, along the way building chickens to Agatha Christie, gives valuable advice to Ian Fleming, out of absurdity of character starts a duel with Mayakovsky and, leaving his cold corpse in Lubyansky passage, runs, leaving the police and literary critics to compose a version of suicide. He takes part in the congress of writers and sits down on xerion - a magical dope based on dragon blood, which gives immortality to members of the order. Everything would be fine - the problems begin later, when the evil dragon forces begin to threaten not only the world in general, but the Gumilyov family: wife Annushka and son Stepa.

What is he fighting for. First, for goodness and beauty, then he is no longer up to high ideas - he simply saves his wife and son.

The way to fight. Gumilyov participates in an unthinkable number of battles and battles, owns hand-to-hand combat techniques and all types of firearms. True, in order to achieve special sleight of hand, fearlessness, omnipotence, invulnerability and even immortality, he has to throw xerion.

With what result. Nobody knows. The novel "Look into the eyes of monsters" ends without giving an answer to this burning question. All the continuations of the novel (both the Hyperborean Plague and the March of the Ecclesiastes), firstly, are much less recognized by Lazarchuk-Uspensky's fans, and secondly, and most importantly, they also do not offer the reader clues.

What is it fighting against? Having learned about the real causes of the disasters that hit the world in the 20th century, he fights first of all with these misfortunes. In other words, with a civilization of evil lizards.

8. Vasily Terkin

"Vasily Terkin"

Hero. Vasily Terkin, reserve private, infantryman. A native of Smolensk. Single, no children. He has an award for the totality of feats.

Years of creation. 1941–1945

What is the point. Contrary to popular belief, the need for such a hero appeared even before the Great Patriotic War. Tvardovsky came up with Terkin during the Finnish campaign, where he, along with the Pulkins, Mushkins, Protirkins and other characters in newspaper feuilletons, fought with the White Finns for their homeland. So in 1941, Terkin entered an already experienced fighter. By 1943, Tvardovsky was tired of his unsinkable hero and wanted to send him into retirement due to injury, but letters from readers returned Terkin to the front, where he spent another two years, was shell-shocked and surrounded three times, conquered high and low heights, led fights in the swamps, liberated villages, took Berlin and even spoke with Death. His rustic but sparkling wit invariably saved him from enemies and censors, but he definitely did not attract girls. Tvardovsky even turned to readers with an appeal to love his hero - just like that, from the heart. Still, Soviet heroes do not have the dexterity of James Bond.

What does it look like. Endowed with beauty He was not excellent, Not tall, not that small, But a hero - a hero.

What is he fighting for. For the cause of peace for the sake of life on earth, that is, his task, like that of any soldier-liberator, is global. Terkin himself is sure that he is fighting “for Russia, for the people / And for everything in the world”, but sometimes, just in case, he also mentions the Soviet government - no matter what happens.

The way to fight. In war, as you know, any means are good, so everything is used: a tank, a machine gun, a knife, a wooden spoon, fists, teeth, vodka, the power of persuasion, a joke, a song, an accordion ...

With what result. Several times he was on the verge of death. He was supposed to receive a medal, but due to a typo in the list, the award did not find the hero.

But imitators found him: by the end of the war, almost every company already had its own “Terkin”, and some even had two.

What is it fighting against? First against the Finns, then against the Nazis, and sometimes against Death. In fact, Terkin was called upon to fight depressive moods at the front, which he did with success.

9. Anastasia Kamenskaya

A series of detective stories about Anastasia Kamenskaya

Heroine. Nastya Kamenskaya, major of MUR, the best analyst of Petrovka, a brilliant operative, in the manner of Miss Marple and Hercule Poirot investigating serious crimes.

Years of creation. 1992–2006

What is the point. The work of an operative involves hard everyday life (the first evidence of this is the television series "Streets of Broken Lights"). But it is difficult for Nastya Kamenskaya to rush around the city and catch bandits in dark alleys: she is lazy, in poor health, and loves peace more than anything in the world. Because of this, she periodically has difficulties in relations with management. Only her first boss and teacher, nicknamed Kolobok, believed in her analytical abilities without limit; the rest have to prove that she is the best at investigating bloody crimes, sitting in the office, drinking coffee and analyzing, analyzing.

What does it look like. Tall, lean blonde, her features expressionless. She never wears make-up and prefers casual, comfortable clothes.

What is he fighting for. Definitely not for a modest police salary: knowing five foreign languages and having some connections, Nastya can leave Petrovka at any moment, but she does not. It turns out that he is fighting for the triumph of law and order.

The way to fight. First of all, analytics. But sometimes Nastya has to change her habits and go on the warpath on her own. In this case, acting skills, the art of reincarnation and female charm are used.

With what result. Most often - with brilliant: criminals are exposed, caught, punished. But in rare cases, some of them manage to hide, and then Nastya does not sleep at night, smokes one cigarette after another, goes crazy and tries to come to terms with the injustice of life. However, so far there are clearly more happy endings.

What is it fighting against? Against crime.

10. Erast Fandorin

A series of novels about Erast Fandorin

Hero. Erast Petrovich Fandorin, a nobleman, the son of a small landowner who lost his family fortune at cards. He began his career in the detective police as a collegiate registrar, managed to visit the Russian-Turkish war of 1877-1878, serve in the diplomatic corps in Japan and incur the disfavor of Nicholas II. He rose to the rank of State Councilor and retired. Private detective and consultant to various influential people since 1892. Phenomenally lucky in everything, especially in gambling. Single. Has a number of children and other descendants.

Years of creation. 1998–2006

What is the point. The turn of the XX-XXI centuries again turned out to be an era that is looking for heroes in the past. Akunin found his defender of the weak and oppressed in the gallant 19th century, but in the professional field that is becoming especially popular right now - in the special services. Of all Akunin's stylistic undertakings, Fandorin is the most charming and therefore the most enduring. His biography begins in 1856, the action of the last novel dates back to 1905, and the end of the story has not yet been written, so you can always expect new achievements from Erast Petrovich. Although Akunin, like Tvardovsky earlier, since 2000 has been trying to end his hero and write his last novel about him. The Coronation is subtitled The Last of the Novels; the “Lover of Death” and “The Mistress of Death” written after her were published as a bonus, but then it became clear that Fandorin's readers would not let go so easily. The people need, need, an elegant detective who knows languages and is wildly popular with women. Not all the same "Cops", in fact!

What does it look like.“He was a very pretty young man, with black hair (which he was secretly proud of) and blue (alas, it would be better also black) eyes, rather tall, with white skin and a cursed, indestructible blush on his cheeks.” After the experience of misfortune, his appearance acquires an intriguing detail for ladies - gray temples.

What is he fighting for. For an enlightened monarchy, order and law. Fandorin dreams of a new Russia - ennobled in the Japanese manner, with firmly and reasonably established laws and their scrupulous execution. About Russia, which did not go through the Russo-Japanese and the First World War, revolution and civil war. That is, about Russia, which could be if we had enough luck and common sense to build it.

The way to fight. A combination of the deductive method, meditation techniques and Japanese martial arts with almost mystical luck. By the way, there is also female love, which Fandorin uses in every sense.

With what result. As we know, the Russia that Fandorin dreams about did not happen. So globally, he suffers a crushing defeat. Yes, and in small things too: those whom he tries to save most often die, and the criminals never go to jail (they die, or pay off the court, or simply disappear). However, Fandorin himself invariably remains alive, as does the hope for the final triumph of justice.

What is it fighting against? Against the unenlightened monarchy, revolutionary bombers, nihilists and socio-political chaos, which in Russia can come at any moment. Along the way, he has to fight bureaucracy, corruption in the highest echelons of power, fools, roads and ordinary criminals.

Illustrations: Maria Sosnina