What is character in literature definition. Women and goddesses from ancient literature

Since ancient times, the Russian people have amazed all the peoples of the world with the strength of their spirit and character. Not without reason, among many peoples, there were legends that it was almost impossible to defeat the Russian people, that Russian warriors were fearless and never retreated in the face of danger.

Let's remember at least the heroes of the monument Old Russian writing- "Words about Igor's regiment." The author of The Tale of Igor's Campaign departs from the objective historical sequence of events and, as an artist, unfolds a vivid panorama of poetic paintings and images. He does not so much talk about individual facts of Igor's campaign as he reflects on the fate native land, twisted over the past and the future - "from the old Vladimir to the present Igor." Central images"Words" are the Russian land and the Russian people. Whatever he writes about and no matter which of the princes the author remembers, he does not forget his fatherland. Following Igor’s army, he proclaims several times: “O Russian land, you are already beyond the helm!” Thus, the author is trying to emphasize that it is the native land that is the main value for Russian soldiers, it is for it that they are ready to give their lives, and it, in turn, protects them from harm. Perhaps it is precisely in such a holy attitude towards the native land that the strength of the Russian character consists? But let's try to follow the author further in search of an answer to our question.

After tragic battle on the Kayala River, “the black earth under the hooves was littered with bones, and watered with blood: the whole Russian land was exhausted with longing!”, And the brave Russians “fell for the Russian land.” After that, according to the author, "longing spread over the Russian land, inescapable sadness flowed among the Russian land." Having learned about the defeat, the Kiev prince Svyatoslav, in his “golden word”, mixed with tears, several times conjures his compatriots to stand up “for the Russian land, for the wounds of Igor”. Thus, we are once again convinced of the value and significance for the Russians of protecting Rus' from adversity, of unity in this struggle.

At the same time, the image of the Russian people is manifested in the poem: the people-ratai, the people-warrior, the people - the defender of their native land. Prince Vsevolod proudly speaks of his warriors that they were “swaddled” under the pipes, “brought up” under the helmets, fed from the tip of a spear. They go out on a campaign not as conquerors. For them, Polovtsian wealth is worth nothing, they treat trophies with disdain. Warriors fearlessly die for the Russian land. The author speaks of this with sadness, lamenting the princely strife, which entails death and ruin.

The Lay vividly presents the images of ancient Russian princes. The most clearly written images of the courageous warrior brothers Igor and Vsevolod. The author speaks of them with sympathy, admires their courage, but at the same time blames their self-will and love of glory, the inconsistency of their actions with the policies of other princes, Kyiv prince.

The author deviates from historical truth, idealizing and glorifying the image of the great Kyiv prince Svyatoslav, but does this with a specific political goal, since he considers Kyiv as the center of the unification of Russian principalities into a single feudal state. The image of Svyatoslav - a wise, balanced ruler and commander, formidable for the Polovtsy, saddened by the "father" of the defeated Russians - is revealed in his symbolic "dark" dream and the "golden word", "mixed with tears", which is the central part of the poem. This traditional artistic technique gives the author the opportunity to evaluate the activities of the Russian princes of the 11th-12th centuries.

are bright and female images poems - Yaroslavna, mourning the defeat and captivity of her husband on the rampart in Putivl, gentle Glebovna, the wife of Vsevolod, who are the embodiment of fidelity and eternity of life, waiting, sanctified by love, the immutability of goodness on the blood-drenched earth. And we can see that Russian women are just as strong as warriors, but their strength lies in loyalty, devotion to their chosen ones, which gives them confidence in their struggle. In Russian classical literature female images more than once became the embodiment best features national character. Among them are Katerina A. N. Ostrovsky, Daria and Matrena Timofeevna N. A. Nekrasova, Princess Marya Bolkonskaya and Natasha Rostova L. N. Tolstoy, Olga Ilyinskaya I. A. Goncharova, expressive images heroines of many works by I. S. Turgenev, I. A. Bunin. Despite the unconditional differences in life circumstances, all the heroines of the works of Russian writers undoubtedly have the main common feature. They are distinguished by the ability to love deeply and selflessly, revealing themselves as a person with a deep inner world. And the first in this row are the heroic female images of the Tale of Igor's Campaign.

The author of the ancient Russian monument managed to rise above the selfish interests of the princes, their selfish and ambitious policies and express the interests of the entire Russian people, their desire for unity and peace, the desire to preserve their integrity and culture.

The philological works of M. V. Lomonosov “Rhetoric”, “Grammar”, the treatise “On the Usefulness of Church Books in Russian language". At the same time, his own literary heritage quite diverse and covers all genres and directions. The majestic, solemn and deeply penetrating poetry of Lomonosov was completely subordinated to the spiritual and material needs of the people.

Mikhail Lomonosov became the founder of the first Russian university. This university is located in Moscow and bears his name.

Thus, we see how the son of a simple fisherman, due to the strength of his character, achieved the realization of a dream. The educational role of his life and personality was noted at the time famous critic V. G. Belinsky: “Young men with special attention and with special love should study his life, wear his majestic image in his soul, ”because M.V. Lomonosov directed all his energy, knowledge and talent to the struggle for a new, enlightened, powerful and majestic homeland, glorifying Russian heroes in his works "from farmer to king". All his life and work is a wonderful example of devoted service to the fatherland.

The biography of another person can serve as an example of the exceptional strength of the Russian character.

Academician S.P. Korolev - famous scientist and founder practical astronautics. He was the chief designer of the first Earth satellites and spacecraft. In 1923, as a boy, Sergei Korolev joined a glider club, where he learned how to design gliders. In 1925, Korolev entered the Polytechnic Institute, where he studied aviation and mathematics, but in the evenings he needed to earn money. He was a builder, worked at the post office, played small roles in films. After moving to Moscow, Korolev worked at an aircraft factory during the day, studied at the Moscow Higher Technical School in the evenings, and after lectures worked at home, designing new aircrafts. He made incredible efforts to achieve his goal, to fulfill a wonderful childhood dream and the dream of all mankind - to fly. At the Moscow Technical School, Korolev got acquainted with the ideas of Tsiolkovsky's space flights and with his rocket.

During the Great Patriotic War, Korolev created a jet engine for aircraft and rockets, and on October 4, 1957, the first artificial Earth satellite was launched. This satellite was the result of thirty years of hard work of many people, and Korolev was its chief designer. Then dogs flew into space. And only after many experiments, the first cosmonaut of the world, Yu. A. Gagarin, flew into space on the Vostok spacecraft. It was April 12, 1961. Yu. A. Gagarin is also a wonderful example of the strength of the Russian national character, the desire to achieve the goal , serving their fatherland. People will always remember the names of those who discovered new era in the conquest of space.

Thus, the strength and beauty of the character of the Russian people is manifested primarily in devoted love for their land, in the desire to do everything possible for its sake, in faith in their own strength and desire to constantly move forward, as well as in boundless courage and philanthropy.

Russian character ... How many legends and stories go about him. Are there many such people, are they Russian or not? I think that there are many such people and that even people of other nationalities can be called a person with a Russian character. All this is because "Russian character" is an expression, a phraseological unit, which means that a person is morally very strong, hardy, can endure a test of any complexity and not "break down". I believe that few people have a Russian character, but there are nonetheless.

Consider people with such a character on examples from literature and from life. For example, the heroes, about whom legends were made and films and cartoons were made, had a hardy and strong character, never gave up, they did everything for the good of society, which means they had a "Russian character".

Also "Russian character" has main character Boris Polevoy's "The Tale of a Real Man" Alexey Meresyev was left without feet in battle, which immediately deprived him of further service in the armed forces. But the main character did not give up, every day he trained, learned to walk, dance, fly a plane again. He had a "Russian character", which is why he found the strength to continue working on himself. After some time, he fully recovered and returned to the ranks of the armed forces.

Also in the story "Russian character", which was written by Alexei Tolstoy, a person with a truly "Russian character" is described. Yegor Dremov was seriously wounded during the battle, his face was completely disfigured that even his parents did not recognize him by appearance. So Yegor Dremov, after recovery and undergone operations, returned to the service. The main character did not give up, made great efforts to restore and he succeeded. After everything experienced, Yegor Dremov came home, but did not tell his parents that he was their son. He did not want to bring pain to his parents and his girlfriend, but relatives still recognized him and accepted him for who he is. Egor Dremov is a man with a truly "Russian character", because he endured all the difficulties, fought with them.

Thus, drawing a conclusion from all of the above, I would like to add that a person with a "Russian character" can be not only Russian, he can have any nationality, because it is more important what qualities he possesses. If a person is truly courageous, morally strong, hardy, brave, courageous, valiant, kind, honest and sympathetic, then he can be called a person with a "Russian character". If a person is not afraid to answer for his actions, if he can always help everyone, if he is smart, then we can say that he has a "Russian character". If a person respects people, behaves decently, then he can be called a person with a Russian character. Thus, the title of a person with a "Russian character" must be earned, and then also correspond to it.

Russian national character

The Russian national character has always been rather peculiar and individual. It is very diverse, which is associated with a large number of difficulties and trials that the Russian people had to experience in all their time. Thanks to all this, the Russian character is characterized by masculinity, steadfastness, a sense of duty and love for the motherland. This is also confirmed in numerous classical works Russian writers and poets.

Basic integral part Russian national character is the mentality. First, let's understand what mentality is. Mentality is a complex of emotional and cultural property pertaining to one nation or people. It follows from this that the mentality of each country and each people has its own, and Russia is no exception.

Perhaps every foreigner knows that Russian people are the most friendly and hospitable, but we know that this is not entirely true. Only among us can sympathy coexist with indifference, and benevolence with rudeness. Most psychologists around the world associate this with serfdom, autocracy and famine, which, in their opinion, never existed in the West. But as you know, this is not at all the case, because they constantly create the impression that everything is good and beautiful there, and it has always been and will always be so.

According to one American psychologist, Nicholas Bright, this character of the Russian people was formed thanks to the idea of ​​collective empathy, as a result of which our people were able to maintain unity and survive all the difficulties that our people faced.

What is Russian really? folk character in this dualism? The sincerity of our character lies in the fact that we do not hide our emotions and feelings. If you have fun, then to the fullest, and if you get angry, then so that everyone can hear. Also, laziness for us is a normal phenomenon, on the basis of which we always blame someone else (the state, bosses or magnetic storms). If you need to take responsibility for yourself, then this is not about us, in most cases we will shift it to someone else. It sometimes seems to a Russian person “that apples are better in the neighbor’s garden” and at the same time we ourselves do not want to move on. In addition to all of the above, I would like to add that we can say that living in Russia is bad, but at the same time we will stand as a wall for our state, if all this comes from the lips of a foreigner.

Essay on Russian character

The character of any person is manifested in the most difficult life circumstances. Therefore, in the example different heroes writers show the true Russian character in many of their works.

The most terrible and terrible events occur in the fate of people during the war. It is at this moment that character manifests itself in people, someone loses heart, and someone gives his life for his homeland.

Many pilots, going to certain death, directed their planes at the enemy, knowing that after the collision they would die.

It is precisely in such actions that the strength of the Russian character is visible, this is heroism, selflessness and boundless courage and courage. For the sake of a common cause, for the sake of victory over a common enemy, all the inhabitants of our country united and stood until their last breath.

Eventually long-awaited victory and the expulsion of the German invaders from our land. On the example of the hero Yegor Dremov, the writer A.N. Tolstoy shows true character Russian soldier.

During the Battle, Yegor was wounded and received terrible scars on his face, the surgeon could not restore the soldier's former appearance. This circumstance did not break the soldier, he answered his general that he was ready to go into battle again.

When Egor was in the area of ​​​​his native lands, he came to his village, but did not go to his parents, he was afraid to frighten and upset his mother. After their regiment went on, Yegor received a letter about his mother. She wrote that she loved him and, most importantly, that he was alive.

Unbroken character, courage, fortitude and fortitude, these are the character traits we see in this hero. Another example of selflessness and devotion to the motherland, the hero Andrey Sokolov, from the work of Sholokhov.

He was called to war, served honestly and selflessly, when he saw a traitor in his ranks, he destroyed this person. While in German captivity Andrei behaved with dignity, which earned the respect of the German soldiers. When Andrei got out of captivity, he learned that he had neither family nor home.

It is so tragic and unbearable, but the hero does not give up, continues to fight on. And when he comes across a boy who has lost his family and home, he decides to keep him. This act shows compassion for people.

Here, on the example of such people, the strength of the Russian character is shown, this strength of courage and courage can be seen in many works of Russian writers.

In the poem, the action unfolds around seven men who accidentally met on a high road. During the conversation, a debate flared up on the topic

Ninth day last month spring is a significant and important holiday not only for Russian people but also many people of our planet.

In the life-like image of a person, character is located at one pole, and type at the other. These polarities can converge, they are far from being absolute. In the literary type, the generic or mass-like beginning is more clearly expressed. In character - individual. The type is psychologically one-stringed, "one, but fiery passion" prevails in it. The character is usually multifaceted and complex. However, in living diversity human destinies both are sometimes intertwined. In reality, there are no types in which the general would exclude signs of the individual, and there are no characters in which the unique, even if it is presented in maximum expression, would not contain the generic, all-human. “The deeper we dig into ourselves, the more common,” wrote Leo Tolstoy, which means that, plunging into ourselves, we eventually stumble upon the all-human, which resides in the hidden spiritual layers of the personality and, as it were, is covered by the veil of the individual. It is also remarkable that these words were spoken by an artist whose human individuality was truly immense.
Speaking of types, it will not be superfluous to note that it is completely in vain that this concept is attached only to the spheres of psychology and art, believing that only they typify. First of all, life itself typifies, and it “works” on its types (in their mass manifestations, first of all) with almost more “zeal” than on individual ones. In this sense, life is an unsurpassed artist. Not typical in itself, but only the “idealization” of the typical: cleansing from the empirically random and evaluating it from the standpoint of the ideal, involving it in the system of the author’s ideas about the world and its refraction in this system - only this belongs exclusively to literature. It does not create types before reality itself begins to form them. And in this respect, the literary type differs from the character: the character can be embodied in advance of reality, a predictive idea of ​​the world and man.
But if there are no "pure" types and "pure" characters in reality, then all the more so there are none in literature. The ground for their rapprochement here is precisely this movement into psychological depths, captured in Tolstoy's paradox, on which, oddly enough, resides not so much the individual, but rather the universal, generic. But the path to the depths, to the prototype human soul literature (at least recent centuries) lays, holding in this movement all the fullness and whimsical complexity of the individual. In literature, attraction to types or characters expresses itself only as a tendency, as an attraction to the predominant principle.

Types and characters in Homer

Only the early stages cultural history when the individual in man was reduced in value in the face of myth, genus and nation, are marked by the clear dominance of the model in literature. There are no characters in Homer's poems, despite the fact that one or another spiritual inclination may dominate in the heroes. It is presented in Homer as a manifestation of tribal prowess. And if Achilles in the Iliad is “swift-footed”, then this sign that distinguishes him among the characters of the poem is nothing more than the value of the transpersonal, tribal order projected in a person, one of the manifestations of heroism and strength in the eyes of the ancient Greeks. The generic, ideal property, as it were, "sticks" to the character, becomes his "identifying" sign. Hence the stable epithets: Achilles - "swift-footed", Odysseus - "cunning".
Characteristic, however, is the displacement of ideal value in the Odyssey from the circle of purely physical virtues to the spiritual realm, to the realm of the advantages of the mind. The fate of Odysseus, of course, is not yet a personal fate: the gods play with him like a toy. But if in the Odyssey there is not even a trace of confrontation with the gods and fate, then there is already a bold desire of the hero to take advantage of their weaknesses, as if sanctifying their private goal with a sanction. However, this, of course, does not diverge from the idea of ​​the mythological and "choral" foundations of the ancient worldview. There was in him what later Nietzsche would call a love of rock (amor fati), but there was not even a trace of the awe inherent in Christianity before the deity, perceived as the highest ethical ideal. With the gods of antiquity, the mythological and literary hero could have almost intimate contact. They themselves violated the sacred distance, showing a desire to "play a joke" on mortals, drawing them into their divine game. Already in the Odyssey, a certain psychological halo is superimposed on the monolithic dominant of the hero's ideal property.

Type and character in folklore

There are no characters in folklore either. And here, the absolutization of generic ideas about man and the sharp dividing line between good and evil exclude the very possibility of their appearance. folklore character- always the bearer of some kind of spiritual property, enlarged so much that there is no room for other movements of the soul in the character.
In animalistic folklore, where the animal world is a metaphor for the human world, the fox is certainly cunning, the wolf is evil and greedy, the hare is cowardly, the wise owl, the white swan is the embodiment of purity and purity, etc. There are rare cases when the dominance of one spiritual sign allows psychological fluctuations and a split assessment. But still they are in animalistic folklore. The fox in the Russian fairy tale, although cunning and malevolent, is nevertheless not without attractiveness: she is both gracefully crafty, and courteous, and beautiful (that's why both Lisonka and Lisa Patrikeevna). Although the bear is short-sighted, and not quick to think, but, nevertheless, good-natured, and lordly imposing, and condescending (that's why Mishenka and Mikhailo Potapych).

Character and type in epics and fairy tales

Psychologically "one-stringed" and the characters of the epic epic. But the Russian epic triumvirate (Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich) is not already a kind of way to compensate for the folklore one-sidedness of a person? It's a tripartite alliance. epic heroes, each of which embodies some significant, from the point of view of folklore, facet of the national character. And isn't this trinity aimed at a wider scope of the Russian soul in its heroic manifestations?
The psychological unilinearity of the characters, the attraction to types, and not to characters, also distinguishes the heroes fairy tale. But there is one exception here: the fabulous Russian Ivan the Fool. However, he is an exception not in the sense that we have before us. artistic character. And this, of course, is a type, but a type that aspires to such a depth of people's consciousness, falling so sharply out of the typology of the world fairy tale epos, that all this puts him in a special position among the heroes of a fairy tale. IN fabulous performance about a person, some strange split is revealed here, and it seems that the idea of ​​homogeneous values ​​is doubled fairy world. Ivanov's "stupidity" turns into mind, the "mind" of his brothers turns into stupidity. Everything here is unexpected: Ivan's "stupid" carelessness, willingness to do with little and even neglect little, frivolous hope for chance, humility before fate, combined, however, with a kind of good-natured mischief. Inaccessibility to offense, magnificent, almost regal indifference to the offenders, as if the "fool" has something against which any unrighteousness of another's judgment is broken. Finally, this joyful, but almost devoid of surprise, recognition by Ivanov's soul of magic, as if it were from that sweet "fatherland" in which the spirit of Ivanov unconsciously dwells. And the fairy tale ends, as it were, with a return to this “fatherland”, where everything falls into place, where there is no longer a “fool” and a “freak”, stained with oven soot, but there is a reasonable and handsome good fellow, and with him the beautiful princess and "magic helpers" nearby.
Behind the line of this “fatherland”, which, after all, in a Russian fairy tale is not transcendent, but always somewhere nearby, there are arrogant “wise men”, whose mind is only a predatory practical instinct. And rightly so: they see the obvious, but do not see the secret, they perceive only the surface of life, and not its depth. The point is not at all that Ivan's mind lives under the guise of stupidity, the point is rather that this is a completely different "mind" than the one that practical sanity and dry reason boast of. This is the mind, confidentially open to all the elements of life, faithful only to its secret instinct. It captures the natural good, the roots of which go to the depths of nature and which is completely unconscious, does not see and does not know itself. That is why in the fairy tale Ivan turns out to be the chosen one of higher powers.
However, we must stop here in order not to over-rationalize the ingenuous fantasy of the tale. One thing is clear: this character embodied the intuitive insight of the people, aspiring to the foundations of their own souls. A fairy tale, of course, does not know reflection, and the world consciousness of the people does not rise in it to the level of introspection and self-consciousness, and what in question, is embodied here as involuntarily and spontaneously as the best mental manifestations her original hero close to the very core of the folk character.

Transition from types to characters

The transition from types to characters in the history of literature is directly related to the growth of the personal principle in relation to the world. Already ancient greek tragedy in comparison with the ancient epic, it enlarges everything that is correlated with the fate of the individual. The essence of the tragic guilt of the hero in the tragedies of Sophocles and Euripides is not at all that it is the result of an error arising from ignorance: the failure to recognize his mother by Sophocles Oedipus, in essence, removes any shadow of guilt before the gods. Tragic guilt was more likely to be perceived as a consequence of a certain immoderation of the personal self-awareness of the characters, very doubtful in comparison with its completeness and complexity in the literature of modern times, but already noticeable against the backdrop of the memory of the universal values ​​​​of the genus and myth, which was still alive in the era of Greek tragedy, overlapping all horizons of the individual. In the tragic guilt of the hero, the memory of the mythological universe and the omnipotence of fate comes through, excluding any kind of "independence" of the individual.
The memory of the "old gods" lives in antiquity for a long time. Athens accused Socrates of an attempt on their immunity, and this is already the 3rd century BC. e. The ethics of the Athenian demos in the era of Socrates still clung to the heteronomous foundations of the clan and myth, and against this background, the very exorbitance of the Socratic personality and its independence looked reprehensible and dangerous in the eyes of the demos. Ancient lyrics (especially the lyrics of Sappho) are already clearly colored by the personal principle: here a person finds his own at least relatively sovereign world, in which the individual is already perceived as a value.

Types and characters in Gogol

If the literary type tends to be stable in reality and in human nature, then the character tends to be more dynamic in them. By portraying motionless and homogeneous passions (stinginess and only stinginess, hypocrisy and only hypocrisy, etc.), literature risks incurring reproaches in the archaic, and reproaches not unfounded, because tradition has almost exhausted the range of such passions.
After Molière, no one dared to portray, for example, the exaggerated stinginess forever imprinted in Harpagon. Pushkin's Baron Philip from "The Miserly Knight" is not just a miser, namely " mean knight", and this fusion of stinginess and chivalrous nobility is unthinkable in the circle of traditional artistic types. And if in Gogol's work, in the era of the dominance of characters, an attraction to types comes to life, it is only because this is accompanied by the discovery of a new sphere of reality in which his types take root and which changes their aesthetic nature.
This reality is dead spiritual world, a kind of spiritual necropolis. But this is the necropolis of the Russian soul, where each petrified passion hints at something that, in its living manifestations, not distorted by spiritual death, sends our thought back to the original principles of the national character. The key to these types is in Gogol's reminder that in depicting the moral deformity we must feel "the ideal of what the freak has become a caricature." The ideal, of course, is present in artistic image vice always and everywhere, if, of course, art wants to remain art, and not the embodiment of a fruitless misanthropic or naturalistic thought. And as a reminder of the ideal, Gogol, it would seem, did not decisively reveal anything in the declaration just mentioned. But the essence of Gogol's thought is different: his types are not just moral freaks, but precisely "cartoon" images of the good (in their origins) principles of the Russian soul, touched by the decay of spiritual decay, distorted almost beyond recognition. The point is precisely that the ideal here is not behind the subject of the image (only in the sphere author's assessment and the author's pathos), but in a peculiar, deformed form, it nevertheless enters this subject, just as some real signs of the “prototype” enter into a caricature (otherwise, the caricature would be unrecognizable).
On the other hand, deadened passion is not at all the same as passion in its living, intense manifestation, even if it rushes towards the moral bottom. The mortification of the soul devastates and distorts passion, pulverizing it to the level of insignificance and vulgarity. Vasily Rozanov sensitively felt the deadly breath of emptiness that frightened him in the artistic world of Gogol. But with an impenetrability that discourages us today, Rozanov saw the source of this breath in the author himself, in Gogol's "emptiness".
Characters « dead souls» Gogol was and is still striking the imagination with the unusual nature of his artistic nature, the analogies of which are difficult to find in the aesthetic experience of world literature. The same Rozanov, clearly understanding that these were not characters at all, was inclined to see in them "dolls", and not living faces. And they really are not characters, although, of course, they are not “dolls”, but precisely types: these are fragments of the once living elements of the Russian soul, distorted by vulgarity and spiritual ossification, monstrously overgrown facets of a fragmented whole, and such crushing is, in the eyes of Gogol, sign of death.

Fortitude is an active determination to go towards the goal, overcoming any obstacles. Everyone would like to be strong, but not everyone succeeds. Examples of the strength (or weakness) of the spirit are also found in fiction and in the reality around us.

Arguments from literature

1. (56 words) In D.I. Fonvizin's comedy "Undergrowth", Starodum can serve as an example of fortitude. The hero meets a young officer who seems decent. However, war was soon declared, the friend of the protagonist evaded the defense of the Motherland and succeeded in the rear. Starodum went to the battlefield, was wounded and outflanked. But this incident did not break him and did not deprive him of faith in the triumph of truth.
2. (48 words) Erast, the hero of N.M. Karamzin " Poor Lisa”, turned out to be a weak person, could not match the love of the peasant woman Lisa. The young man, having seduced the girl and received his own, squanders his fortune and decides to find himself a profitable party. Erast deceived Lisa and married another, and she drowned herself, so the hero's impotence was punished with eternal torment of conscience.
3. (54 words) Chatsky, the hero of the comedy A.S. Griboyedov "Woe from Wit" is truly strong man, he had the courage to go not only against one influential person, Famusov, but also against the crowd of his supporters. Chatsky preached truth, freedom, opposed servility and lies. Everyone turned away from him, but Alexander still did not give up, is this not fortitude?
4. (59 words) In the novel in verse "Eugene Onegin" by A.S. Pushkin, the strength of the spirit is concentrated in Tatyana. Having fallen in love with Onegin, she was ready for anything for him. The girl was not even afraid to confess, but this was unacceptable in the 19th century. The strength of the spirit, the strength of love overcame all obstacles, except for one - the lack of reciprocal feelings. Tatyana remained unhappy, but she has a core and the truth is on her side.
5. (47 words) Mtsyri, the protagonist of the poem of the same name by M.Yu. Lermontov, yearned for his native Caucasus and freedom all his life. The hero had a goal: to live for real, at least for a moment, outside the monastery. And Mtsyri fled, tried to return to his native places. He did not succeed, but this thirst for freedom reveals the strength of the spirit in the hero.
6. (48 words) Pechorin, the main character of the novel by M.Yu. Lermontov "A Hero of Our Time" strong-willed Human. For example, when Grushnitsky started an unfair duel against him, Grigory was not afraid, but calmly brought the game to the end, punishing the scoundrel with death. This act is not at all merciful, but strong, because otherwise the hero would have died himself.
7. (52 words) The main character of the story M.E. Saltykov-Shchedrin wise scribbler"Completely devoid of any spiritual strength, he was afraid of dangers all his life, and therefore did not live, but only existed in a hole without friends, love, simple joys. Because of weakness, everything passed by the scribbler, although his existence was long, but completely empty. Without the power of the spirit there is no life.
8. (36 words) In the story of A.P. Chekhov's "The Death of an Official", the executor Chervyakov sneezed on General Bryzzhalov and was so frightened of the consequences of this accident that, in the end, he died of horror. Fear deprived the hero common sense, this is what the weakness of the spirit leads to.
9. (41 words) Andrey Sokolov, the main character of the story by M.A. Sholokhov "The Fate of Man", can be called strong personality. He went to war, because the Motherland was in danger, he went through all its horrors, then captivity and a concentration camp. Sokolov - real hero though he never understood his own strength.
10. (60 words) Vasily Terkin, the hero of the poem of the same name by A.T. Tvardovsky, fortitude is combined with humor and lightness, as if it costs nothing for a fighter to do things that few modern people can repeat without fear and posturing. For example, in the chapter "Duel" it is told about the confrontation between the hero and the German: the enemy is well-fed, better prepared, but Vasily won, and this victory took place solely on moral and volitional qualities, because of the fortitude.

Examples from life, cinema and media

1. (54 words) Plumber Dmitry, the hero of the film "The Fool" by Yu. Bykov, tried to go against the system for the sake of almost a thousand people who were simply abandoned. In the hostel building, the hero noticed a huge crack, the house is about to collapse, people will die or remain on the street. He fights for strangers against authority, fights to the end. He died, the system still won, but the strength of the character of the hero is respected.
2. (46 words) Chuck Noland, the protagonist of R. Zemeckis' film Cast Away, found himself in an extreme situation: the plane on which the hero was traveling crashes, he finds himself on a desert island. In such a situation, if you surrender, you will die. We need to make decisions here and now. Chuck strained his inner strength, survived and was able to rethink his life.
3. (44 words) Eccentric Captain Jack Sparrow from Gore Verbinski's Pirates caribbean: At the end of the world "personifies unsinkability. This hero came to the next world and returned back without batting an eyelid. And all because he never gives up, and this quality makes him a strong person.
4. (41 words) A man of great fortitude is Nick Vujicic. Nick has no arms and legs, but he was able to get a diploma with two specialties, find love, travel and give lectures that help other people. Such heroes motivate to accomplish great things by their example.
5. (46 words) Peter Dinklage, known to many for his role as Tyrion Lannister in Game of Thrones, has overcome many obstacles. Dinklage was born with achondroplasia (a disease leading to dwarfism), he has poor family, at the beginning of the career there was no success. Now this actor is very popular, the problems only hardened his character.
6. (52 words) Stephen Hawking being a luminary modern science, since the age of 20 he has been struggling with amyotrophic lateral sclerosis. Now this disease is not treatable, the scientist is paralyzed, even speaks only with the help of a speech synthesizer. However, Hawking does not give up: he continues scientific activity, inspires young scientists to new achievements, even appears in comedy series"The Big Bang Theory".
7. (67 words) A friend of mine was diagnosed with cancer. This is a young woman with a small child, and the disease was already in the last stage. The first thing she thought about was how to arrange a child the best way. The second is how to live on. One could cry in anticipation of the end, but the woman began to help other patients, and also to live full life without postponing any meetings, travels, acquaintances. You need to have a huge inner core to repeat her feat.
8. (47 words) A friend of mine had an operation that didn't go well. The body rejected the material that was sewn during surgery, inflammation began. She underwent several more operations, a huge number of injections, in the hospital ward whole year life. However, this year tempered her character, taught her not to give up and be strong.
9. (62 words) As a child, I had an incident that made me strong on pain of death. I was just learning to swim, but I accidentally got into a deep place where I didn’t reach the bottom, got scared and started to sink. It was far enough to the coast. Then I realized that if I didn’t calm down and be strong, I wouldn’t be able to save myself. And I swam as best I could, but I swam and survived.
10. (57 words) Once, when I was still very young, my mother looked out of the apartment and saw that there was smoke in the entrance, and it was impossible to go out, especially with a child. But through the window, my mother saw a fire truck, so we went out onto the balcony, and my mother began to give signals to the firemen. They noticed us and pulled us out. Mom was not at a loss, she had to become strong for me.

Fortitude is not only going into battle with a sword drawn, it is often required in Everyday life to deal with all problems and troubles. This quality must be cultivated in oneself, without it it is impossible, as the Kino group sang: “You must be strong, otherwise, why would you be?”.

Interesting? Save it on your wall!

The generalization that a character contains is called character (from the Greek character - a sign, distinguishing feature) or type (from the Greek typos - imprint, imprint). Character refers to socially significant features that are manifested with sufficient clarity in the behavior and mentality of people; highest degree characteristics - type.

Creating a literary hero, the writer usually endows him with one or another character: one-sided or many-sided, integral or contradictory, static or developing, commanding respect or contempt, etc.

In the stories of A.P. Chekhov's "Death of an official" and "Thick and thin" Chervyakov and "thin" as images are unique; we meet the first in the theater, "at the top of bliss", the second - at the station, "laden" with his luggage; the first is endowed with a surname and position, the second - name and rank; the plots of the works, their denouement are different. But the stories are interchangeable when discussing the theme of veneration in Chekhov, the characters of the characters are so similar: both act stereotypically, not noticing the comic of their voluntary servility, which only brings them harm. The characters are reduced to a comic discrepancy between behavior characters and an ethical norm unknown to them; as a result, Chervyakov’s death causes laughter: this is “the death of an official”, a comic hero.

Concepts character And type closely related and are often used interchangeably. However, there is still a difference: the significance of artistic generalization is associated with the type, a high measure of universal in character. Characters, especially in the work of one writer, are often variations, developments of one type. Writers return to the type they have discovered, finding new facets in it, achieving aesthetic impeccability of the image.

The type, first of all, expresses the generic mass principle. In character, the emphasis is on individuality. The type expresses one quality or property; it is psychologically one-sided. The character is dialectical, contradictory, psychologically complex, multifaceted. The type is always static, devoid of mobility, does not change. The character is dynamic, capable of self-development. For example, Tatyana Larina and Anna Karenina, who behave not at all according to the author's idea. The type exists outside of time. The character is seen against the background historical era, interacts with it.

Character

The literary character is considered to be the image of a person, which is outlined with completeness and individual certainty. It is through character that a certain type of behavior is revealed, often the one that is inherent in a certain historical time and public consciousness.

Also, through the character, the author reveals his moral and aesthetic concept. human existence. Character is spoken of as organic unity general and individual, that is, both individual traits and those that are inherent in the public are expressed in character. In a broader sense, a 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: speech and thoughts. The appearance, place and role of the hero in the development of the plot also forms a certain type of character. There may also be contradictions in the character, which are already embodied in artistic conflicts. The contradictions may be part of a certain character.

Speech and action as ways to create character

One of the main ways to create character in literary works are speech And deed. The linguistic form of expression of the character of the hero is inherent in almost all 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 like drama, speech characters performs one of the most important characterological functions.

deed is one of the brightest forms of expression literary character. The actions of the hero, 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.