Characteristics of the main characters “Undergrowth. “Undergrowth” - play D

Positive hero

Positive hero

A literary character embodying the author's moral values, one on whose side the author's sympathies are and should, according to his plan, be the reader's sympathies. The positive hero is the bearer of the aesthetic ideal, his behavior, views are, to one degree or another, a model for the readers of this work. The image of a positive hero has an educational value. To enhance the impact on the reader, a positive hero is often set off by a negative hero - the bearer of an anti-ideal.
A clear division into positive and negative characters dominated the literature classicism. In the 19th and 20th centuries, in literature realism, this division was complicated by the fact that positive characters began to acquire negative traits, and negative characters began to acquire positive traits, thereby the authors achieved credibility in the depiction of characters. For example, in the comedy A.S. Griboyedov"Woe from Wit" Chatsky is certainly a positive character, but at the same time he is ridiculous, too critical in his assessments. Famusov, on the contrary, is a negative hero, but he has many positive features - a caring father, a patriot, etc. An attempt to portray a positive hero devoid of negative traits was made by F.M. Dostoevsky in The Idiot. Prince Myshkin is devoid of any greed, pride, malice, etc., but at the same time he is a person who has just recovered from a serious mental illness. Such an image of a positive hero is unique in Russian. literature. Works are possible in which there are no positive characters at all - such are the “Inspector General” and “Dead Souls” by N.V. Gogol. According to the author's intention, the positive hero of these works is laughter, and the characters presented on the stage or in the novel are a "combined city" or "combined country", the image of all the vices that existed in the then Russian. society.
The positive hero changes along with the change in the ideals of society. The main feature of the folklore and mythological positive hero was strength, valor, courage (Prometheus, Hercules, Ilya Muromets, Siegfried, etc.). In ancient literature, a positive hero was distinguished by courage in resisting fate and the ability to come to terms with his fate and fulfill his duty (for example, Antigone). In the Middle Ages, the positive hero is associated primarily with chivalrous prowess and vassal fidelity (“ Song of Roland"). In the era Renaissance the humanist hero, embodying a high idea of ​​human vocation, a kind of universal human positive hero (Don Quixote), became a positive hero. The positive hero of the Enlightenment is a rational, reasonable person (Robinson Crusoe). Literature of the 19th and 20th centuries tries to get away from evaluativeness, not singling out any of the characters as positive, but considering them as complex and unique psychological types.
In classical Russian In literature, a positive hero is, first of all, a person expressing the characteristics of a national. character (Tatyana Larina in "Eugene Onegin" and Petrusha Grinev in "The Captain's Daughter" by A. S. Pushkin, merchant Kalashnikov in "Song about the merchant Kalashnikov ..." M. Yu. Lermontov, Taras Bulba in "Taras Bulba" N.V. Gogol, peasants in the poems of N. A. Nekrasov etc.). In Soviet literature, the same principle was observed - a positive hero is necessarily popular, but, in addition, he follows the principles of the Soviet state (Pelageya in M. Gorky, young guards in the "Young Guard" A. A. Fadeeva).
A positive hero is not the only, but very effective means of affirming the ideals and views of the author: the reader sympathizes with such a hero and seeks to imitate him.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

See what a "positive hero" is in other dictionaries:

POSITIVE HERO- A POSITIVE HERO, a literary character who directly embodies the author's moral values. Literature, inseparably with cognitive tasks, solves aesthetic problems, that is, it artistically comprehends reality in the light of ... ... Literary Encyclopedic Dictionary

positive hero- a character who is presented in the work as an example to follow, a model of human behavior, a bearer of aesthetic ideals, approved by the writer. Heading: artistic image Antonym / correlate: * negative hero Genus: hero ... ...

positive hero- a character of an epic or dramatic work, a lyrical hero in whose image the author embodies his idea of ​​\u200b\u200bthe ethical and aesthetic ideal (for example, Prince Lev Nikolaevich Myshkin in F.M. Dostoevsky's novel The Idiot). The image of P.g ... Dictionary of literary terms

Jarg. corner. Iron. Patient with syphilis. Baldaev 1, 334 ...

hero- me, w. heros m., germ. hero. 1. Heroes or iroi were called by the polytheists children. born from a mixture of gods with a mortal wife, or from goddesses with a man; also those who, for what important invention or action, are famous among the gods after death ... ... Historical Dictionary of Gallicisms of the Russian Language

App., use. comp. often Morphology: positive, positive, positive, positive; more positive; nar. positive 1. Positive is something that expresses agreement, statement. A positive response. | Positive feedback on ... ... Dictionary of Dmitriev

hero positive- see the goodie... Terminological dictionary-thesaurus on literary criticism

Heroes and crowd. Pub. or Book. Unapproved About the opposition of individual intellectually gifted individuals to the mass of ordinary and obedient people. /i> Title of an article (1882) by publicist, sociologist and critic N. K. Mikhailovsky. Normal characters... Big dictionary of Russian sayings

POSITIVE, oh, oh; flax, flax. 1. Expressing consent, approval, affirmative. Positive decision. Positive rating. P. answer. 2. Laudable, useful and essential. P. result. P. fact. positive phenomenon. 3.… … Explanatory dictionary of Ozhegov

hero- 1. A person who has accomplished military or labor exploits. Selfless, fearless, brilliant (obsolete), daring (obsolete poet), valiant, glorious (obsolete), famous, famous, true, legendary, courageous, folk, real, ... ... Dictionary of epithets

a literary character embodying the moral values ​​of the author, one on whose side the sympathies of the author are and, according to his plan, the sympathies of the reader should be. The positive hero is the bearer of the aesthetic ideal, his behavior, views are, to one degree or another, a model for the readers of this work. The image of a positive hero has an educational value. To enhance the impact on the reader, a positive hero is often set off by a negative hero - the bearer of an anti-ideal.

A clear division into positive and negative heroes dominated the literature of classicism. In the 19th and 20th centuries, in the literature of realism, this division was complicated by the fact that positive characters began to acquire negative features, and negative characters began to acquire positive features, thereby the authors achieved credibility in depicting characters. For example, in A. S. Griboyedov’s comedy “Woe from Wit”, Chatsky is certainly a positive character, but at the same time he is ridiculous, too critical in his assessments. Famusov, on the contrary, is a negative hero, but he has many positive traits - a caring father, a patriot, etc. An attempt to portray a positive hero devoid of negative traits was made by F. M. Dostoevsky in the novel The Idiot. Prince Myshkin is devoid of any greed, pride, malice, etc., but at the same time he is a person who has just recovered from a serious mental illness. Such an image of a positive hero is unique in Russian. literature. Works are possible in which there are no positive characters at all - such are the “Inspector General” and “Dead Souls” by N.V. Gogol. According to the author's intention, the positive hero of these works is laughter, and the characters presented on the stage or in the novel are a "combined city" or "combined country", the image of all the vices that existed in the then Russian. society.

The positive hero changes along with the change in the ideals of society. The main feature of the folklore and mythological positive hero was strength, valor, courage (Prometheus, Hercules, Ilya Muromets, Siegfried, etc.). In ancient literature, a positive hero was distinguished by courage in resisting fate and the ability to come to terms with his fate and fulfill his duty (for example, Antigone). In the Middle Ages, the positive hero is associated primarily with chivalrous prowess and vassal loyalty ("The Song of Roland"). In the Renaissance, a humanist hero, embodying a high idea of ​​human vocation, a kind of universal positive hero (Don Quixote), became a positive hero. The positive hero of the Enlightenment is a rational, reasonable person (Robinson Crusoe). Literature of the 19th and 20th centuries tries to get away from evaluativeness, not singling out any of the characters as positive, but considering them as complex and unique psychological types.

In classical Russian In literature, a positive hero is, first of all, a person expressing the characteristics of a national. character (Tatyana Larina in "Eugene Onegin" and Petrusha Grinev in "The Captain's Daughter" by A. S. Pushkin, the merchant Kalashnikov in "The Song about the Merchant Kalashnikov ..." by M. Yu. Lermontov, Taras Bulba in "Taras Bulba" by N. V. Gogol, peasants in the poems of N. A. Nekrasov, etc.). In Soviet literature, the same principle was observed - a positive hero is necessarily a people, but, in addition, he follows the principles of the Soviet state (Pelageya in M. Gorky's "Mother", Young Guards in A. A. Fadeev's "Young Guard").

Denis Ivanovich Fonvizin writes his sparkling comedy "Undergrowth" in the era of the dominance of classicism. In accordance with the strict hierarchy of genres, comedy (as well as satire and fable) belongs to a low literary genre, but, nevertheless, has a number of features and is aimed at revealing social vices. The images of the heroes of the era of classicism are devoid of individual features, since they are aimed at capturing stable generic signs that do not stop over time.

The comedy "Undergrowth" has a vivid author's assessment of historical reality, which Fonvizin tries to portray in the most truthful and reliable way, in which the features of realism that replaced classicism are noticeable. The author puts his views into the dialogues of positive characters, whose speech is replete with worldly wisdom. No wonder the comedy after the publication was literally dismantled into aphorisms. The characters whom the author and the reader sympathize with are ideal, they have practically no flaws, and their function in the work is aimed at establishing a just social order. The division into strictly positive and negative characters is a sign of classicism inherent in the work.

Starodum, Sophia's sixty-year-old uncle, who lived for several years in Siberia, where "by labor and honesty" made his fortune of ten thousand rubles, which he bequeathed to his beloved orphaned niece, appears in the role of the most significant figure, bearing positive features. It is noteworthy that the name of each comedy hero is "speaking". Starodum (i.e. "representative of old thoughts, views") received the best education of the Petrine era. He gives a rather capacious description of the time of his formation: “At that time there were few ways to learn, and they still didn’t know how to fill an empty head with someone else’s mind”, “Then one person was called you, not you. Then they did not yet know how to infect people so much that everyone considered himself to be many. But now many are not worth one.” The hero has seen a lot in his lifetime. Without sparing himself, he served the Fatherland, exposing his chest to bullets during hostilities, was seriously wounded and resigned in an impulse after he learned that his former friend, the count, who did not want to repay his debt to the Motherland, was promoted to the rank and bypassed him . Only later did Starodum conclude that “a pious person is jealous of deeds, not ranks; that ranks are often solicited, and true respect must be deserved; that it is much more honest to be bypassed without guilt than to be granted without merit. After his resignation, he came to St. Petersburg, where he was presented to the court, but he did not stay there for long, because he could not come to terms with established morals: “Here they love themselves perfectly; they care about themselves alone; fuss about one real hour. I saw here a lot of people who, in all cases of their lives, neither ancestors nor descendants came to the idea of ​​a robe. The hero makes a strict diagnosis to the court society: “It is in vain to call a doctor to the sick is incurable. Here the doctor will not help, unless he becomes infected. Starodum attaches primary importance to the moral formation of the personality, even his father taught him: “Have a heart, have a soul, and you will be a person at any time. Everything else is fashion: minds are fashion, knowledge is fashion, like buckles, buttons. The hero considers the soul to be the most important virtue in a person: “Without it, the most enlightened clever woman is a miserable creature. An ignoramus without a soul is a beast. The smallest feat leads him to every crime. Starodum is a true patriot of his Fatherland, evaluating a person not by his condition, but by the benefit that he brought to his native land: “I calculate the degrees of nobility by the number of deeds that the great master did for the Fatherland<...>without noble deeds, a noble state is nothing.

The like-minded person who shares the views of Starodub in the comedy is the most honest and impeccable state official Pravdin. A native of Moscow, he was appointed a member of the governorship, to which the Prostakov estate belongs, and was called to serve as a zealous guardian of order: “I have an order to go around the local district; and besides, from my own feat of my heart, I do not leave to notice those malevolent ignoramuses who, having full power over their people, use it for evil inhumanly. He gives a rather apt description by Prostakov himself: “I found the landowner an innumerable fool, and his wife a wicked fury, to whom the infernal temper makes the misfortune of their whole house.” It is with the help of Pravdin that Starodum manages to expose and stop the atrocities of the tyrant Prostakova and save Sophia from her arbitrariness.

The representative of the fair sex in the group of ideal characters is Sofya - a modest, intelligent, educated and well-bred orphan, forced by the will of circumstances to live in the house of a distant relative of the despotic Prostakova. It is not in vain that Fonvizin gives the heroine the name Sophia, which in ancient Greek means "wisdom, rationality, science." She is respectful to her elders and wise beyond her years. The heroine compares favorably with the inhabitants of the Prostakovs' house, who see in her only a way of easy money to continue their atrocities. She is not used to spending time idly and devotes her free minutes to reading. Sophia does not just read, she analyzes what she read, it is her lips that such important words belong to: “How not to be satisfied with the heart when the conscience is calm! It is impossible not to love the rules of virtue. They are ways to happiness."

And finally, the last hero of the galaxy of positive characters is officer Milon, who is heartily in love with Sophia and literally snatched her from the hands of offenders who wanted to kidnap her and forcibly marry Mitrofanushka. Milon is a patriot, ready to pay his debt to the Fatherland: “I believe true fearlessness in the soul, and not in the heart. Whoever has it in his soul, without any doubt, has a brave heart. In our military craft, a warrior must be brave, a military leader must be fearless. The young man very quickly and easily achieves the favor of Starodum, who gives his blessing for the upcoming marriage: “I am a friend of honest people. This feeling is rooted in my upbringing. In yours I see and honor virtue, adorned with enlightened reason. You both deserve each other. With all my heart I give you my consent.

Comedy D.I. Fonvizin has a happy ending - evil is punished, justice has triumphed, each character gets what he deserves.

This is something like an essay, or thought-reflection on a given topic. The fact is that recently, my master at the Literary Institute, suggested that I reflect on the concept of a “positive hero” - is it possible for him to exist in the world that surrounds us at the moment, is it possible to realize a positive (subject to his existence) hero ...

I thought, and one sleepless evening I wrote this text. I want to warn you that I did not conduct any deep analysis, I simply wrote about what popped up in my mind. And in general, this text can be perceived as humorous. However, I didn’t want to give instructions (but it didn’t work out), so I’m putting it up for discussion, which I hope will throw in a few more correct thoughts.

Who is the positive hero? Who has no negative traits, something repulsive, no Evil? The one who has more love than hate for people? One who does good and does not do evil? But what is good and what is bad?

Is a good hero an ideal something that can never exist on the pages of books? Utopia? The positive hero is fantasy, fantasy, fiction. It's invisible.

Grinev and Onegin - who are these people, are they good or not? These are ordinary people, eaten by passions and contradictions. Pushkin simply embellished them, glossing over their dark side, which they themselves were quite cleverly able to hide.

Bolkonsky? Myshkin? One died, the other went crazy. Where is their positivity? The first one casts lots - I'll do it, I'll get married. And the second one sells and then buys. In the end, both are out of business.

Bazarov? No, well, this is an even more negative character, what really - only glimpses before death. And so only he is able to give advice and teach how to live correctly. And in general, there were so many of those who taught to live correctly, but where are they now?

Alyosha Arseniev? He has not grown up yet, simply because he is pure, that he is a child. Although he already has a passionate love for socialists and revolutionaries.

Or maybe a thorough zemstvo doctor Ionych? Although there is no place for him, before Luke. But it seems to me that only the Petrel, who proudly flies, and does not hide his body in the cliffs, is worth praising from Gorky ...

Blokovsky "in a halo of roses"? And the rivers of blood are red, and it doesn’t matter which army you are in, in white or in the one that is stronger than all?

Sasha from Chevengur of Platonov, who came from the water and disappeared there. This one, although he doubts, is much smaller than Grishka Melikhov. In general, this cannot be written down as positive in any way - everything is rushing back and forth, but it doesn’t get along with the women, and he didn’t join the party.

Meresyev? Ah here perishing fate have human such in war. Here, either a hero is 100%, or a coward and a traitor, and they will never write a book about such people. If you didn’t perish in the ovens of Auschwitz, then somewhere in Western Ukraine you will meet a random bullet.

And even if you are a doctor, a brilliant doctor, you write poems, not everything will work out for you with power, you will end up as a janitor in a damp basement. Zhivago, Professor Preobrazhensky took an oath, all their lives they strived to help people, to serve the fatherland, but people with ranks and in uniform did not need this, as it turned out.

Do not need good? We were just spoiled by the housing problem. But to understand this, you need to see Evil. Here is a favorite novel by a millionth army of romantics, poets, graphomaniacs, artists, musicians and girls in love. Does he have a positive character? Well, open your eyes! - I hear, - here is the Master in the cap, Margo, Yeshua, finally! But this is the second plan, the second. This is a frame for Woland, his background. Well, to rank Messira among the positive ones, you understand ...

Well, where next? Whom to look at? Where to find these good heroes? In the stories of Shalamov, tortured for many years in the camps? In citizens of Dovlatov's prose running away from themselves and from the system? Maybe they hid in the works of Pelevin?

Even in the numerous unsentimental novels of women writers there are no positive characters. Where did they disappear to? Or maybe they just never existed? Didn't exist. Because no one needed him, or because he was not interesting? Indeed, it is better to write about ordinary people - it is closer for the reader and easier for the writer. Life, life, death, did something, did not have time to do something, everything is as it should be in the real turmoil of days. Moreover, if we imagine an ideal positive character against the background of modern, for example, non-idealized reality, the one that surrounds us every day, what will happen to him? The poor fellow will die, because he is not ready for such a world ...

Here's how it comes out.

positive hero