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Introduction

1. Reflection of the features of the Russian mentality in the fiction of the 19th century

2. Russian artistic culture of the second half of the 19th century

Conclusion

Bibliography

Introduction

Fiction is actively involved in modern life, influencing the souls of people, their culture and ideology. And at the same time, it is a mirror: on its pages, in the images and paintings it created, the spiritual development of society over many decades is captured, the feelings, aspirations and aspirations of the masses of people at different stages of the country's historical past are expressed, the mentality of the Russian people is embodied.

Since the task of our study is to trace how the features of the character and culture of the Russian people are displayed in Russian literature, we will try to find manifestations of the above features in the works of fiction.

However, little scientific literature has been devoted to this issue, only a few scientists have seriously worked on this topic, although by analyzing our past and present and identifying the direction of our character and culture, we can determine the correct path along which Russia should move in the future.

The object of our study is the culture and character of the Russian people, its features and distinctive features.

When writing this work, three main methods were used: analysis and synthesis of philosophical literature on this issue, analysis and synthesis of fiction of the 19th century, and analysis of historical events in Russia.

The purpose of this work is to study the features and distinctive features of the character and culture of the Russian people through works of philosophical and fiction and historical events.

The purpose of this study is to trace how Russian literature reflects the features of the Russian character and culture.

1. Reflection of the features of the Russian mentality in the fiction of the 19th century

If we turn to N.V. Gogol, then in his poem "Dead Souls" one can observe the manifestation of all that scope and ignorance of the measure that are so characteristic of the Russian people. The composition of the work is based on the journey of the protagonist Chichikov through the boundless Russian expanses. Chichikov's britchka, the Russian troika, "equipped" by the "efficient Yaroslavl peasant", turn into a symbolic image of the swift, "wonderful movement of Rus' into an unknown distance."

The writer did not know where Rus'-troika was rushing, because Rus' is wide and immense. In chapters V and IX, we observe landscapes of endless fields and forests: "... And a mighty space menacingly surrounds me, reflecting in my depths with terrible power; my eyes lit up with unnatural power: oh! what a sparkling, wonderful, unfamiliar distance to the earth! Rus'! .. "But even in the images created by Gogol, we observe scope, breadth, prowess. Manilov is extremely sentimental and dreamy, which prevents him from properly managing the earth.

Nozdryov clearly expressed irrepressible energy in real life, daring and pernicious inclination to participate in all kinds of "stories", fights, booze: "Nozdryov was in some respects a historical person. Not a single meeting where he was could do without history. What Somehow the story would certainly happen: either the gendarmes would lead him out of the hall by the arms, or his own friends would be forced to push him out. sideboard in such a way that he only laughs, or breaks through in the most cruel way ... "Gogol speaks of Plyushkin as an unusual phenomenon for Russia:" I must say that such a phenomenon rarely comes across in Rus', where everything likes to turn around rather than shrink. Plyushkin is distinguished by greed, incredible stinginess, stinginess to the extreme, so he seems to "shrink". But Nozdryov, who "would revel in the full width of the Russian prowess of the nobility, burning through life, as they say," - "loves to turn around." The desire to cross the boundaries of decency, the rules of the game, any norms of behavior is the basis of Nozdryov's character. He says these words when he goes to show Chichikov the borders of his estate: “This is the border! , it's all mine." It creates a rather blurry idea of ​​what is nostril and what is not. For him, there are no boundaries in anything - the clearest example of such a feature of the Russian mentality as the desire for scope. His generosity even crosses all boundaries: he is ready to give Chichikov all the dead souls that he has, just to find out why he needs them.

Plyushkin, on the other hand, goes to the other extreme: a liquor, carefully cleaned of dust and boogers, and an Easter cake brought by his daughter, somewhat spoiled and turned into a cracker, he offers Chichikov. And speaking of landowners in general, their inhumanity knows no bounds, just as Nozdryov knows no bounds in his revelry. Breadth, going beyond, scope can be traced in everything; the poem is literally saturated with all this.

The list of the Russian people found its clearest reflection in Saltykov-Shchedrin's History of a City. The tribe of bunglers, in order to achieve some sort of order, decided to gather all the other tribes living in the vicinity, and "it began with the fact that the Volga was kneaded with oatmeal, then the calf was dragged to the bath, then porridge was cooked in a purse" ... But nothing happened. Boiling porridge in the purse did not lead to order, head-pulling also did not give results. Therefore, the bunglers decided to look for a prince. There is a phenomenon of the search for a protector, intercessor, steward, so characteristic of the Russian people. The bunglers cannot solve their problems on their own, only throw hats on Kosobryukhov. The desire for revelry prevailed and led to complete disarray in the tribe. They need a leader who will do everything for everyone. The wisest in the tribe say this: "He will provide us with everything in an instant, he will make Soldiers with us, and he will build a prison, which he should," (the breadth of spaces still puts pressure on the inhabitants of Foolov, and they want to somehow fence themselves off, as evidenced by such detail, like a prison). The Foolovites, who are the personification of the Russian people, relaxed in the presence of the mayor Brudasty, and after that, "the Foolovites had barely learned that they were completely without a mayor, as driven by the power of love of the authorities, they immediately fell into anarchy", which manifested itself in smashing windows in a fashionable institution of one Frenchwoman, in throwing Ivashkas off the roll and drowning innocent Porfis. fiction gogol mentality

However, the intensification of administrative activity in Glupov led to the fact that the inhabitants "were overgrown with hair and sucked their paws." And they even somehow got used to it! This is for happiness: "So we live, that we do not have a real life." The woman of the city of Glupova is the force that brings movement to the life of the city. Archer Domashka - "she was a type of a Khalda woman, cursing in passing," "she had extraordinary courage," "her voice rang through the settlement from morning to evening." The mayor Ferdyshchenko even forgot why he came to the field, what he wanted to tell the Foolovites when he saw Domashka, "acting in one shirt, in front of everyone, with a pitchfork in her hands."

If we pay attention to the applicant for the position of mayor, we see from the description that each of them has a masculine trait: Iraidka, "uncompromising character, courageous build", Klemantinka "was tall, loved to drink vodka and rode like a man" and Amalia , strong, lively German. It should also be noted that in the legend of the six city governors, for some time the government was in the hands of Clementine de Bourbon, who was connected with France by some family relationship; from the German Amalia Karlovna Stockfish, from the Pole Aneli Aloizievna Lyadokhovskaya. In the novel "Oblomov" I.A. Goncharov, we also find a manifestation of the features of the Russian mentality. The clearest example of a passive person is Ilya Ilyich Oblomov. And the point is not whether he is just a loafer and a lazy person, having nothing sacred, just sitting in his place, or he is a person of a highly developed culture, wise and spiritually rich, he, nevertheless, does not show activity. Throughout almost the entire novel, we observe him lying on the couch. He cannot even put on boots and a shirt himself, as he is used to relying on his servant Zakhar. Oblomov was brought out of the state of "immobility and boredom" by his friend Andrei Stolz (again a German). The passivity of the Russian people, called by Berdyaev “eternally womanish,” finds an outlet in Goncharov when describing Ilya Ilyich: “in general, his body, judging by the matte, too white color of the neck, small plump hands, soft shoulders, seemed too pampered for a man.” His lying on the couch was occasionally diluted by the appearance of fellow carousers, for example, an ardent reveler and robber Tarantiev, in which one can hear a roll call with Gogol's Nozdryov. Immersion in the depths of thought and spiritual life, distracting Oblomov from external life, suggests a leader who will always guide the hero that Stolz becomes. Oblomov's passivity is also manifested in his love for Olga Ilyinskaya.

The letter that was written to her began with the statement that such a phenomenon of writing is very strange, since Olga and Ilya Ilyich see each other a lot and an explanation could have been made long ago. This indicates some timidity, passivity even in such a matter as love! .. It is from Ilyinskaya that the initiative comes. It is Olga who always brings Oblomov into conversation, she is some kind of engine of these relations (like a real Russian woman, brave, strong and persistent), offering some kind of meetings, walks, evenings, and in this we see an illustration of that feature of the mentality of the Russian people , which characterizes the position of women and men.

Another feature of the Russian mentality - Russian love - can be traced in this work. Oblomov, realizing that "they don't like such people," did not demand from Olga a mutual feeling for his love, he even tries to warn her against the erroneous choice of a groom in his face: "You are in error, look around!" Here it is the sacrifice of Russian love. You can also note another feature of the Russian mentality - duality, since Oblomov does not want to recognize what is so unpleasant for him - the erroneous, false love of Olga Ilyinskaya - and can marry her to herself while she thinks she loves, but immediately we are faced with the characteristic of the Russian people inconsistency: he is afraid to hurt Olga by marrying her forever, and at the same time hurts himself, because he loves the heroine and breaks off relations with her. The image of Agafya Pshenitsina also illustrates the passivity and sacrifice of Russian love: she does not want to disturb Oblomov with her feeling: "Agafya Matveevna does not make any prodding, no demands." Thus, on the example of Goncharov's novel "Oblomov", we have traced how such features manifest themselves in literature: sacrifice and cruelty in love, knowledge and passivity, fear of suffering and inconsistency. The stories of Nikolai Semenovich Leskov "Chertogon" and "The Enchanted Wanderer" very clearly illustrate the above features of the mentality of the Russian people.

In the first story "Chertogon" we can observe a ceremony "which can be seen only in Moscow alone." Within one day, a series of events happen to the hero of the story, Ilya Fedoseevich, about which his nephew tells the reader, who first saw his uncle and spent all this time with him. In the image of Ilya Fedoseevich, that Russian prowess, that Russian scope, which is expressed by the proverb to walk like a walk, is represented. He goes to the restaurant (where he is always a welcome guest), and at his behest, all visitors are expelled from the restaurant and they begin to cook every single dish indicated on the menu for a hundred people, order two orchestras and invite all the most eminent persons of Moscow.

The fact that Ilya Fedoseevich sometimes forgets about the measure and can plunge into revelry, the author lets the reader know by assigning to his hero a "half-gray massive giant" Ryabyk, who "was in a special position" - to protect his uncle, in order to have someone to pay off . The party went on all evening at full speed. There was also felling of forests: my uncle cut down the exotic trees exhibited in the restaurant, as the gypsies from the choir hid behind them; "taken prisoner": dishes flew, the roar and crackle of trees was heard. “Finally, the stronghold was taken: the gypsies were seized, hugged, kissed, each one put a hundred rubles for the“ corsage ”, and it was over ...” The theme of worshiping beauty is traced, since the uncle was fascinated by gypsy charms. Ilya Fedoseevich and all the guests did not skimp on money, as they threw expensive dishes at each other and paid extra for a hundred rubles here and there. At the end of the evening, Ryabyka would pay for all this revelry instead of his uncle with a huge amount of money - as much as seventeen thousand, and the uncle only without any concern, "with a calmed and worked up soul," said to pay. There is the whole breadth of the Russian soul, ready to burn life through and not be limited in anything: for example, the requirement to lubricate the wheels with honey, which is "more curious in the mouth."

But also in this story there is a “combination of the difficult to combine” and that special Russian holiness that requires only humility, albeit in sin: after such a revelry, the uncle puts himself in order at the hairdresser and visits the baths. Such a message as the death of a neighbor with whom Ilya Fedoseevich drank tea for forty years in a row was not surprising. The uncle replied that "we will all die", which was only confirmed by the fact that he walked the way he did the last time, without denying anything and not limiting himself in anything. And then he sent to take a stroller to Vsepeta (!) - he wanted to "fall before Vsepeta and cry about sins."

And in his repentance, the Russian does not know the measure - he prays in such a way that it is as if the hand of God lifts him by the tuft. Ilya Fedoseevich is both from God and from a demon: "he burns with his spirit to heaven, but he still sorts through hell with his legs." In Leskov's story "The Enchanted Wanderer" we see a hero who throughout the story is a combination of mutually exclusive properties. Ivan Flyagin overcomes a difficult path, which is a circle on which we can observe all the above features of the Russian mentality, the defining one of which is duality. The whole work is built on a continuous antithesis and Flyagin himself is the connecting link of the opposing elements. Let's get back to the plot. He, a praying son, protected by the Lord (which in itself contradicts the commission of some kind of sin), saves the count and countess, feels compassion for the murdered missionaries, but the death of a monk and a Tatar is on his conscience; whatever the reason, Grusha was killed by him. Also, the inconsistency of the image lies in the fact that he loves a gypsy, whom he barely knows, Grushenka, and does not recognize his Tatar wives, although he lived with them for eleven years; he cares for someone else's child, but does not love his own legitimate children due to the fact that they are not baptized. When Flyagin lived in the count's house, he kept pigeons, and the count's cat ate the eggs laid by the dove, so the hero decided to take revenge on her and cut off the tail with an ax.

This speaks of the inconsistency of his character - love for a bird (or for a horse, since Flyagin's work was connected with them) gets along with such cruelty to a cat. Flyagin cannot resist making an "exit", meaning that he will be gone for some amount of time, since any such exit is not complete without a visit to an inn, if this is not the main reason at all ... Here is an example of Russian ignorance of the measure: Flyagin goes with five thousand rubles of his master to a tavern, where, under the influence of some magnetizer (by the way, speaking French words, which emphasizes the fact that a Russian person is under the influence of foreign influence), he is treated for drunkenness with vodka (!), As a result, he gets drunk to hell in in the truest sense of the word, and wanders into a tavern (again, the story contains gypsies, who in Russian fiction are a symbol of daring, scope, revelry, drunken fun and revelry), where gypsies sing.

With all his broad Russian soul, he begins to throw lordly "swans" under the feet of the gypsy, like the rest of the guests (it is not by chance that "other guests" are used in the stories - Ilya Fedoseevich chopped trees with a late general, and Flyagin tried to outdo the hussar all the time - so as these heroes are not isolated phenomena, they make up the whole Russian people), having become infected with this captivating carefree fun of a gypsy tavern, first one at a time, and then with a whole fan: “Why should I torture myself like this in vain! I’ll let my soul walk freely.” It is interesting that on the way to the tavern, Flyagin goes into the church to pray that the lord's money does not disappear, as if anticipating a loss of control over himself, and, by the way, manages to show the figurine to the demon in the temple. Here, such features of the Russian mentality as a statement and worship of beauty are also manifested: Flyagin no longer controls, power over him belongs to the beautiful gypsy Grushenka, who captivated the hero with her unprecedented beauty. Flyagin says the following about this: “I can’t even answer her: she did this to me right away! Immediately, that is, how she bent over the tray in front of me and I saw how it was between her black hair on her head, as if silver, the parting twists and falls behind my back, so I became mad, and my whole mind was taken away from me ... "Here it is, - I think, - where is the real beauty, that nature's perfection is called ... "There is also Russian love in this story, which manifested itself in the murder of Grusha, who would have been forever tormented by feelings for the prince and his betrayal: "I trembled all over, and ordered her to pray, and did not prick her, but took it so from the steepness into the river shoved ..." Despite all those sins that the hero accomplished in his life, during the narration of this story he became a church minister.Flyagin walks the path of sin, but prays and repents of his sins, for which he becomes a righteous man.On the example of this image, we see that in a Russian person angelic and demonic can coexist how large is the amplitude of the oscillation - from committing murder to becoming God's servant.

In the poem by N.A. Nekrasov, one can trace the features of the Russian mentality. The scope of the Russian soul is vividly represented here: "Yakim Nagoi lives in the village of Bosovo, he works to death, drinks half to death! .." Accustomed to turning around in everything, the Russian man forgets to stop here too. We can observe in the poem the manifestation of such a feature of the Russian mentality as the worship of beauty. During the fire, Yakim Nagoi ran first of all to save pictures with beautiful images, bought for his son. Also note that the people see their happiness in suffering! Although this contradicts another feature of the mentality - the fear of any suffering in general. Perhaps the people would like to avoid some "isolated" grief, but when all life consists of nothing but sad things, they learn to live with it and even find in it some kind of happiness that is understandable, probably only to the Russian people ... in suffering, in torment! The poem writes about this like this: "Hey, peasant happiness! Leaky with patches, humpbacked with calluses ..." there are a lot of songs in the poem that reflect the mood of the people, which express the above-mentioned feature of the Russian mentality: "- Eat a prison, Yasha! Milk- then no! "Where is our cow?" - They took away my light! The master took her home for offspring. It is glorious to live for the people in Holy Rus'! This song is called fun. In the chapter about Saveliy, the Holy Russian Bogatyr, we meet a peasant who, for non-payment of tribute, suffered torture every year, but was even proud of it, because he was a hero and protected others with his chest: “Hands are twisted with chains, legs are forged with iron, back ... on it - they broke. And the chest? Ilya the prophet rattles on it, rides in a chariot of fire ... The hero endures everything! " There is a Russian woman, strong, hardy, courageous - Matryona Timofeevna: “Matryona Timofeevna, a portly woman, wide and thick, about thirty-eight. Yes, a short sundress, and a sickle over the shoulder. She endures all the hardships of life, cruelty from her father-in-law and mother-in-law, from her sister-in-law. Matryona Timofeevna sacrifices herself for the sake of her beloved husband and tolerates his family: “The family was huge, grumpy ... I ended up in hell with a girl’s hell! redeem." Yes, and her husband Philip, an intercessor (the leading Russian slave person; in the role of the leader, the role of the intercessor is the governor and the governor's wife, to whom Matryona Timofeevna went to resolve her misfortune), at least once, but hit her: "Philip Ilyich got angry, waited until I put the pot on the pole, and slap me on the temple! .. Filyushka also added ... And that's it! "Faith in signs and superstition, in fate in this poem is reflected in the fact that the mother-in-law of Matryona Timofeevna was offended all the time if someone acted, forgetting about signs; even famine in the village happened because that Matryona put on a clean shirt for Christmas. Savely said these words: “no matter how you fight, stupid, what is written in the family, that cannot be avoided! There are three paths for men: a tavern, prison and hard labor, and women in Rus' have three loops: white silk, the second - red silk, and the third - black silk, choose any one! .. "Another feature of the Russian mentality - holiness is displayed in the following episodes of the poem. Grandfather Savely goes to the monastery after overlooking Dyomushka, in search of the omission of sins. In the story of two great sinners, we again see Russian holiness. In Kudeyar, the robber chieftain, "the Lord awakened the conscience." For repentance of sins, "God took pity" The murder of the sinful pan Glukhovsky is a manifestation of the full awareness of the sins once committed by Kudeyar, the murder of a sinner atones for sins, so the tree that had to be cut with Kudeyar's knife fell down by itself as a sign of forgiveness: huge, the echo shook the whole forest. "It is no coincidence that we noted precisely the external manifestations of the Russian mentality. What explains this behavior of the heroes of the above-mentioned works, we can find ty in Tyutchev's lyrics and when considering the connection between the hero of Dostoevsky's novel Mitya Karamazov and Apollon Grigoriev.

In the lyrics of Tyutchev, one can observe how the features of the mentality of the Russian people are manifested. In many poems, the poet speaks of inconsistencies, of absolutely opposite things that coexist simultaneously in the Russian soul.

For example, in the poem "O my prophetic soul!" the duality of the soul of a Russian person is illustrated: "Let the suffering chest excite fatal passions - the soul is ready, like Mary, to cling to the feet of Christ forever." That is, again, the soul is a "resident of two worlds" - the sinful world and the holy world. We again see a contradiction in the words of the lyrical hero: “Oh, how you are struggling on the threshold of a kind of double being! ..” in the poem “Our Age” we note the combination of disbelief and faith in one person: “Let me in! - I believe, my God Come to the aid of my disbelief!.." The hero turns to God, therefore, the desire to believe and the desire to deny everything coexist in him at the same time, his soul constantly oscillates between these two opposite sides. In the poem "Day and Night" we see confirmation that at the heart of the Russian soul there is always something dark, spontaneous, chaotic, wild, drunken": "and the abyss is naked to us with its fears and darkness, and there are no barriers between us ... "We observe the cruelty and sacrifice of Russian love in the poem" Oh, how deadly we love ... ":

"Fate is a terrible sentence

your love was for her,

and undeserved disgrace

she lay down on her life!

And what about long torment,

like ashes, did she manage to save?

Pain, the evil pain of bitterness,

pain without joy and without tears!

Oh, how deadly we love!

As in the violent blindness of passions

we are the most likely to destroy,

what is dearer to our heart! .. "

Speaking about the Russian mentality, one cannot say about such a person as Apollon Grigoriev. One can draw a parallel between him and the hero of Dostoevsky's novel, Mitya Karamazov. Grigoriev was not, of course, in the full sense the prototype of Dmitri Karamazov, but, nevertheless, we see in the latter many characteristic Grigoriev features and the connection between them seems to be quite close.

Mitya Karamazov is a man of the elements. A minute dominates his life, dragging him along and opening up two abysses all the time. Delight and fall, Schiller and debauchery, noble impulses and low deeds in turn, or even together burst into his life. Already these fairly obvious features indicate a mental situation very close to Grigoriev's. It is the clash of the ideal and the earthly, the need for a higher existence with a passionate thirst for life that can be seen both in the fate of Grigoriev and in the fate of Mitya. If we take as an example the attitude towards a woman and love, then for both of them it is like some kind of point in life where contradictions converge. For Mitya, the ideal of the Madonna somehow came into contact with the ideal of Sodom (two extremes), and it was beyond his power to separate them. Grigoriev had that "ideal of the Madonna" seen in the painting by Murillo. In the Louvre, he begs Venus de Milo to send him "a woman - a priestess, not a merchant." The frenzied Karamazov feeling is heard in his letters almost as distinctly as in Mitya's hymns to Queen Grushenka. “Frankly, what I haven’t done with myself for the past four years. What meanness I didn’t allow myself in relation to women, as if taking revenge on them all for the damned Puritan purity of one, and nothing helped ... I sometimes love her to meanness , to self-humiliation, although she was the only thing that could lift me up. But it will be ... ". This split, the incompatibility of the two sides of existence, tears the soul of Apollon Grigoriev in its own Karamazovian way. The subjugation of the unconscious elements does not yet bring inner integrity. He realized that he was releasing "wild and unbridled" forces, and already, while these forces were taking more and more power over him, he felt more and more sharply that he was not living the way he should. Here are examples from his letters: "A whole strip of dissolute and ugly life lay down here in a layer, I escaped from it all the same wild gentleman who is known to you from all his good and bad sides ... how I lived in Paris, you better not ask about it Poisonous blues, crazy - bad hobbies, drunkenness to visions - this is this life.

The two abysses of Apollon Grigoriev's life became more and more distinct. He wrote about the duality of the Russian soul and tried to justify everything that happened to him with it. But duality, with his acute critical consciousness, also turned out to be unbearable. From the end of his stay in Italy, there was a struggle in his soul, a struggle between life and death. He wrote: “For example, no human efforts can save or fix me. get out and can't get out. He still continued to believe in life with impenetrable Russian faith, which, in fact, is difficult to define as a vital phenomenon - what is Russian faith? Grigoriev felt himself captured by the vortex beginning and, in the name of his faith, gave himself to it to the end with that feeling that Alexander Blok later called love for death. A terrible monument to his last wandering was the poem "Up the Volga", ending with a groan: "Vodka or what? .." Up the Volga, Grigoriev returned to St. Petersburg, where his forty-year-old man was waiting for a debtor's prison and an early death almost under the fence.

The rhythm of vortex motion is equally present in the lives of Apollon Grigoriev and Dmitry Karamazov. In Dostoyevsky's novel, this rhythm plays an almost decisive role. Despite the stops and turns in Mitya's fate, the speed of movement is increasing, and life is rapidly carrying Mitya to disaster. This rhythm finds its highest expression in the scene of a desperate ride in the wet, when the passion for a woman struggles in him with the passion of renunciation and shame for what has been done draws the only way out for the confused mind - suicide. "And yet, despite all the accepted determination, it was vague in his soul, vaguely to the point of suffering, and the determination of calmness did not give ... There was one moment on the way that he suddenly wanted ... to get his loaded pistol and end everything without waiting and dawn. But this moment flew by like a spark. Yes, and the troika flew, "devouring space", and as it approached the goal, again, the thought of it, of it alone, more and more captured his breath ... "

And in the fall, Grigoriev finds rapture and beauty, if there is no other way out, and finds the only true and beautiful solution to fall to the end, as the Russian scope allows. Just like Mitya: “Because if I fly into the abyss, then it’s straight, head down and heels up, and I’m even pleased that it’s in this humiliating position that I fall and consider it beauty for myself.” Apollon Grigoriev also traces the theme of gypsies in the cycle "Struggle" - a gypsy Hungarian. In him, we finally see an accurate and exhaustive definition of the gypsy theme: "It's you, the dashing spree, you - the fusion of evil sadness with the voluptuousness of the badeyarka - you, the motive of the Hungarian!"

In general, Mitya and Apollon Grigoriev were always attracted by beauty, and, perhaps, because "beauty is a terrible and terrible thing", a mysterious thing, a "divine riddle", to guess which means to say goodbye to this world; “When you look into the abyss, you don’t want to go back, and it’s impossible.” But the desire to give an exact, almost mathematical definition is not inherent in the poet ... Yes, Grigoriev - the scientist was not completely defeated by Grigoriev the poet and Grigoriev the scientist did not completely defeat Grigoriev the poet, leaving Apollon Grigoriev in a state bifurcation. Grigoriev the man won, a Russian, a truly Russian man. Before us are different works of different authors, but they are united by some common features that can be traced here and there: breadth, scope, an unbridled desire to look into the abyss, fall into it and the desire of the soul for light, for the divine, for the temple, just left she is a boar. Flyagin, Ilya Fedoseevich, Oblomov, Yakim Nagoi, Tarantiev, Nozdrev - this is a whole gallery of images illustrating the features of the Russian mentality. Fluctuation from extreme to extreme - from the tavern to the temple of Ilya Fedoseevich, from the temple to the tavern of Ivan Flyagin - closes the path of a Russian person into an endless circle, on which other features of the mentality of the Russian people, such as a statement, passivity, worship beauty, holiness, etc. The interaction of all these features confirms that we have not listed some independent and isolated features that manifest themselves among the Russian people, we have named the features of the mentality, which, by definition, is a combination of these features and something holistic, unified, where each element is in close relationship with others.

2. Russian artistic culture of the second half of the 19th centurya

Russian literature of the second half of the 19th century continues the traditions of Pushkin, Lermontov, and Gogol. There is a strong influence of criticism on the literary process, especially N.G. Chernyshevsky Aesthetic Relations of Art to Reality. His thesis that beauty is life underlies many literary works of the second half of the 19th century.

Hence the desire to uncover the causes of social evil. The main theme of works of literature and, more broadly, of works of Russian artistic culture was at this time the theme of the people, its sharp socio-political meaning.

In literary works, images of men appear - righteous, rebels and altruistic philosophers.

The works of I.S. Turgenev, N.A. Nekrasov, L.N. Tolstoy, F.M. Dostoevsky are distinguished by a variety of genres and forms, stylistic richness. The special role of the novel in the literary process as a phenomenon in the history of world culture, in the artistic development of all mankind is noted.

"Dialectics of the Soul" was an important discovery in Russian literature of this period.

Along with the appearance of the "great novel" in Russian literature, small narrative forms of great Russian writers appear (please see the program on literature). I would also like to note the dramatic works of A.N. Ostrovsky and A.P. Chekhov. In poetry, the high civic position of N.A. Nekrasov, soulful lyrics by F.I. Tyutchev and A.A. Feta.

Conclusion

Solving the tasks, exploring the materials on this topic, we came to the conclusion that the Russian mentality has such features and distinctive features: ignorance of the measure, breadth and scope (an illustration is such heroes of works of fiction as Nozdrev, a "burning life" reveler from Gogol's poem , a reveler and a robber Tarantiev from Oblomov, Ilya Fedoseevich, ordering a dinner of the most expensive dishes for a hundred people, arranging the cutting of exotic trees in a restaurant, Ivan Flyagin, who gets drunk in a tavern and squanders five thousand rubles per night in a lord's tavern); statement and irresistible faith (this feature is clearly reflected in Saltykov-Shchedrin's "History of a City": there was no order without a prince, and the inhabitants of the city of Glupov threw Ivashkas off the roll and drowned innocent Porfis, believing that a new city chief would come and arrange their lives, put things in order); passivity (an example of a passive person is Ilya Ilyich Oblomov, who cannot deal with economic affairs in any way, and even in love cannot be active); a Russian man is a generator of ideas, a Russian woman is the engine of Russian life (Olga Ilyinskaya orders Oblomov to read books and then talk about them, calls him for walks and invites him to visit, she feels love when Ilya Ilyich is already thinking that in the future she meet his true soulmate); cruelty and sacrifice in Russian love (In the story "The Enchanted Wanderer" Ivan Flyagin kills Grushenka, the one he loves, and Ilya Ilyich Oblomov breaks up with Olga, although he loves); admiration for beauty (Yakim Nagoi in Nekrasov's poem "Who is it good to live in Rus'?" During a fire, he ran to save the pictures that he had once bought for his son, since something very beautiful was depicted on them. The reader does not know what exactly was in the pictures, but the author makes it clear that the people with irresistible force are drawn to the beautiful, they are attracted by beauty); holiness (Ilya Fedoseevich from Leskov's story "Chertogon" allows himself to arrange a drunken felling of trees, breaking dishes in a restaurant and chasing gypsies from the choir and at the same time repents for all this in the temple, where he, by the way, as in the restaurant, is a regular) ; duality, inconsistency, a combination of the difficult to combine (Mitya Karamazov and Apollon Grigoriev all the time hesitate between delight and fall, find happiness in grief, rush between a tavern and a temple, want to die from love, and dying, they talk about love, look for an ideal and immediately give up earthly passions, desire a higher heavenly existence and combine this with an irresistible thirst to live).

Bibliography

1. Gachev G.D. The mentality of the peoples of the world. M., Eksmo, 2003.

2. Likhachev D.S. Reflections on Russia: St. Petersburg: Izd-vo LOGOS, 2001.

3. Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language. M., 1997.

4. Likhachev D.S. Three foundations of European culture and Russian historical experience // Likhachev D.S. Selected works on Russian and world culture. SPb., 2006. S. 365.

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The reasons for the emergence of interest in Russian society in the spiritual and material manifestation of national identity, the "spirit of the people" are quite well known and are described in detail in specialized literature: the collapse of the philosophy of rationalism in the last decades of the 18th century predetermined the transition to new, "idealistic" worldview systems that discovered the intrinsic value of phenomena momentary and their constant dynamism; the approval of the romantic way of creative understanding of reality made it possible to discover the undoubted aesthetic value of the people's principle, and the Patriotic War of 1812 clearly proved that the concepts of "people", "people's character" are not at all an invention, a philosophical or aesthetic abstraction, but a very real phenomenon that has interesting and dramatic story.

It is not surprising that almost the entire "golden age" of Russian literature passes under the sign of "nationality", the search for forms of its expression.

If we consider Russian literature of the XIX - early XX centuries. (at least on the example of the work of authors who invariably formed the backbone of the school curriculum) in relation to the concept of "national character", it is necessary to note the following.

1. For Russian artists of the XIX - early XX centuries. folk character is a completely objective phenomenon of real life, and not just an artistic generalization, a symbol, a beautiful myth, and therefore folk character deserves careful and detailed study.

2. Like any phenomenon of real life, the folk character is complex and contradictory, has both attractive and repulsive features, includes dramatic contradictions of the surrounding reality, and the most acute spiritual problems. This forces us to abandon the schoolchildren's view of the folk character in Russian literature as something absolutely positive, integral, having the value of a model, ideal, the proximity or distance from which the viability of certain characters is measured. So, in the drama of A.N. Ostrovsky's "Thunderstorm" Kabanikh, Wild, Katerina, Varvara, Vanya Kudryash - the characters are very different both in content and in ideological and semantic terms, but, of course, "folk".

3. The consequence of the first two provisions is that in the works of Russian classical literature the concept and the “phenomenon” itself, the image of a folk character, is, in fact, devoid of a clear social class reference (which is also an ideologeme firmly rooted in the practice of school teaching): manifestations " nationality", "folk spirit" can equally be inherent in a nobleman (like Andrei Bolkonsky, Pierre Bezukhov, M.I. Kutuzov), and a merchant, and a peasant, and a representative of the "middle class", the intelligentsia (for example, Osip Stepanovich Dymov in "Jumper" by A.P. Chekhov). Therefore, it seems that thoughtful disputes about whether the servant can be considered as a typical representative of the people (for example, Petrushka and Selifan in "Dead Souls", Zakhara in "Oblomov"), or whether only a hereditary farmer can claim this role, do not make sense .

This approach allows us to distinguish between the concepts of "people's character" and "nationality". Folk character is a private, individual manifestation of nationality, those same general religious, everyday, moral, aesthetic attitudes that objectively exist in the people's environment and, in fact, form the "people" from the latter. However, as an aesthetic category in literature, nationality is secondary in relation to the national character, is derived from it and cannot serve as the initial measure of its evaluation. This or that literary character is "folk", insofar as the artist has correctly depicted its objective, real-life folk features, but not because the latter have already been set by the "folk" understood in one way or another. At the same time, the provisions outlined above make it possible to get away both from the identification of the concepts of "folk" and "common people", and from the now fashionable understanding of the folk character exclusively in its national Russian specificity.

Let us consider in more detail the features of artistic embodiment and the role of folk character in the works of Russian classics of the 19th century.

In comedy A.S. Griboyedov's "Woe from Wit" is the only stage character that can be considered actually folk - Lisa. If we leave aside her role as a soubrette, which goes back to Western European comedy, then the functions of this character, especially in terms of expressing the author's idea, are extremely interesting. According to A. S. Griboedov, the world is "stupid", that is, it is governed by laws that are absurd from the point of view of common sense: society is actually ruled not by men, but by women; in the eyes of people, it is not civic or personal virtues that are valued, but success in life - and no matter at what cost it is achieved; private selfish interests will always dominate over "public" ones; it is impossible to love "reasonably", but after all, love is the goal and meaning of human life, therefore the lover is always "stupid", and even if a person is prudent and cautious, the feeling will still make him take a rash, truly stupid step. In other words, "for fools happiness", or - "Silents are blissful in the world!"

In this regard, it is very significant that Lisa expresses precisely those purely practical, sober, in part even somewhat cynical views on life, which are taken for granted by the majority, in fact, by the people, and do not always coincide with the requirements of a rationalist (and, consequently, maximalist) Chatsky: “And they hear, they don’t want to understand, Well, what would they take away from the shutters?”, “Sin does not matter, rumor is not good.”

She is well versed in the everyday psychology of people ("When they tell us what we want, Wherever we believe it willingly!", "A smile and a few words, And whoever is in love is ready for anything"). Advising Sophia to take on the appearance (quite in Molchalin's way) of fun and carelessness in front of her father and Chatsky, and reminding Molchalin exactly how a "bride-seeker" should behave ("And you, bride-seekers, Do not bask and do not yawn; Pregozh and dear, who does not finish eating And does not sleep until the wedding"). She is observant and practical in her assessments ("I wish he had a son-in-law with stars and ranks, And with the stars not everyone is rich, between us", "And a golden bag, and he aims for generals", "... Rechist, but it doesn't hurt cunning"). She is not at all mistaken about the true nature of the relationship between a man and a woman, especially if they occupy a different position in society (as Sophia’s aunt inked her hair for the “young Frenchman”, so Molchalin takes on the appearance of a languid and tender lover for his boss’s daughter: in love, everyone trying for himself). Despite her devotion, she does not forget about herself. Far from neglecting her current rather comfortable position as the confidante of the young daughter of a wealthy and influential owner, Lisa prefers not to get involved in dangerous adventures (“Do not watch, your power, And what will I get in return for you, of course”, “He will ban you, - good, still with me, Otherwise, God have mercy, just me, Molchalin and everyone out of the yard", "... Ah! from the masters away, They have troubles for themselves at every hour ...", "Well! people in this side! She to him, and he to me. And I ... only I crush love to death. - And how not to fall in love with the barman Petrusha!"). Lisa is resourceful (“Yes, sir, the young lady has an unhappy disposition: She can’t look from the outside, How people fall headlong”? - she says, deftly hiding the true cause of Sophia’s fainting), cheerful, sharp on the tongue (Chatsky: I would like to kill him. .. Lisa: For company? so sensitive, and cheerful, and witty! .."), but does not understand what he is saying (Sofia: A mixture of languages? Chatsky: Yes, two, you can’t live without it. Liza: But it’s tricky to tailor one of them, how yours"). This image plays an extremely important role in expressing the main author's thought: the world is not controlled by the laws of the "mind", and the one who judges it from the point of view of reason is truly insane.

In the work of A. S. Pushkin ("Eugene Onegin", "The Stationmaster", "Dubrovsky", "The Captain's Daughter"), the folk character acquires those pictorial and ideological qualities that will determine his existence in Russian literature for many years.

On the one hand, the folk character is interesting to A.S. Pushkin in terms of aesthetics: his amazing integrity with the apparent external inconsistency in good and evil, cruelty and mercy. A typical example is the blacksmith Arkhip in "Dubrovsky", deliberately locking the manor's house and "gazing at the fire with an evil smile" and at the clerks trying to escape, risking their lives, saving a cat from the fire, while reproaching the village boys: "You are not afraid of God: God's the creature dies, and you foolishly rejoice." The strength and immediacy of feelings inherent in him, which manifests itself in the most dramatic situations - in a word, the qualities of a folk character precisely as a worthy object of attention of high art, seem to A. S. Pushkin interesting and find their perfect aesthetic embodiment in his works.

On the other hand, the "people" (and, accordingly, "people's character") is a phenomenon that exists objectively, regardless of our ideas or conventions taken for truth, this is what is in reality and in practice (for example, in 1812 d.) proved its existence, which means that there is something that is invisibly present in the soul of every Russian person and finds its manifestation in the whole way, spiritual and material structure of Russian life.

A. S. Pushkin comes to the image and artistic analysis of everything that unites a gentleman and a serf peasant ("Dubrovsky", "The Captain's Daughter"), a nobleman and a fugitive Cossack ("The Captain's Daughter"), landowners - mother and daughter - and their a serf, an old nanny ("Eugene Onegin"), a passing official in the low rank of a titular adviser, an old retired soldier - a postal station keeper and a rich, handsome hussar ("The Stationmaster"). They are equally capable of love, perceive this feeling in the same way and are equally helpless before it, and, in fact, love plays the same role in their destiny. For example, the story of the old nanny in "Eugene Onegin": the story of her life and love is an exact analogy of the life and love of both Tatyana Larina and her mother, for the fate of a woman - a peasant woman or a noblewoman - is the same: the same girlish dreams of a betrothed and oh happiness, the same marriage not out of love, but according to the principle "be patient - fall in love", the same care for household chores and honest fulfillment of the duty of a wife and mother; The role of folklore epigraphs in "The Captain's Daughter" is indicative: Masha Mironova speaks about the impossibility of marrying a loved one without the blessing of his parents (it's not about "customs", but about understanding that love is from God) Masha Mironova speaks almost with the words of a folk song.

In The Stationmaster, for the sake of such a natural right to love, the right to make a loved one happy, to give everything for him and find his own happiness in this, neither a nobleman nor a person from the people will spare either himself or the loved ones of those whom they love, or even their loved ones themselves. The brilliant hussar captain will deceive Dunya into the city, throw Vyrin over the threshold - and with all this he will keep his word of honor given to him that Dunya will be happy. Dunya will gladly leave with a young nobleman (“Dunya was crying, although she seemed to be going on her own”) and really “weaned from her former state”, so much so that she would lose her senses at the sight of her father. Samson Vyrin, blinded by his father's love, will try to return the beautiful daughter - touchingly, selflessly, sparing neither himself nor her current happiness and position, for love is cruel, and happiness is selfish for both the gentleman and the peasant, and it was not for nothing that the ancients called the god of love Eros is evil, cruel and ruthless. Both the nobleman and the commoner know what "honor" is - not formal, but real, natural, synonymous with the concept of "conscience": justice, gratitude, mercy, loyalty - whether to an oath, word or loved one. In honor, in conscience, heroes so dissimilar either in position or in age act like Pyotr Grinev, his parents, Savelich, the Mironovs and their daughter, the old lieutenant Ivan Ignatievich, Pugachev, the empress - the list can be continued. Even such a repulsive character as Khlopusha is not devoid of either mercy or nobility: "That's enough, Naumych... You should choke and cut everything... You yourself look into the grave, and you destroy others. Isn't there enough blood on your conscience?.. I killed an opponent, not a guest; at a free crossroads and in a dark forest, not at home, sitting at the stove; with a bludgeon and a butt, and not with a woman's slander. They even speak and write in almost the same language. So, in the story "Dubrovsky" the speech of the "old Russian gentleman" Kirila Petrovich Troekurov is extremely popular, replete with characteristic colloquial (and sometimes rude) vernacular: "It's great, what's your name", "I need you", "You're lying , brother, what documents do you need", "Tell this monsieur ... so that he doesn’t dare to drag himself after my girls, otherwise I’m his dog’s son ...", "This was not a mistake, do not open it up", " Full of lies, Anton Pafnutich. We know you ... at home you live like a pig ... ". In the story "The Captain's Daughter", the letter of a strict and demanding gentleman and the worthy answer of a faithful and respectful servant are stylistically the same: the same mixture of rough vernacular and bureaucratic "high calm" with "low", almost colloquial, up to sayings: "Shame on you, old dog, . ..that you didn't tell about my son... I told you, old dog! I will send pigs to graze for concealing the truth and for indulging a young man...", - also: "... to teach you a lesson, like a boy, to transfer you from the Belogorsk fortress somewhere far away, wherever your foolishness would pass."

At the same time, these unifying features can have not only positive, but also negative qualities, it is, so to speak, unity both in good and in evil. So, Kirila Petrovich Troekurov, the richest and most influential landowner, as it should be in the presentation of the people to a man of his position and condition, is cool, despotic, proud, arrogant, self-willed and stubborn. However, his peasants and servants are an exact likeness of his master: "He treated the peasants and courtyards strictly and capriciously, but they were conceited by the wealth and glory of their master and, in turn, allowed themselves a lot in relation to their neighbors, hoping for his strong patronage." It is characteristic that the quarrel between Troekurov and his only close friend, Andrei Gavrilovich Dubrovsky, begins because of the audacity of the Troekurov dog-keeper, addressed to the poor nobleman, although the latter seems to speak out in favor of the "oppressed" serf: "No," he answered (Dubrovsky - A. F.) severely, - the kennel is wonderful, it is unlikely that your people live the same as your dogs. One of the psars was offended. “We don’t complain about our life,” he said, “thanks to God and the master, and what’s true is true, it wouldn’t be bad for another and a nobleman to exchange the estate for any local kennel. He would be fed and warmer.” It is curious that Savelyich ("The Captain's Daughter"), lamenting about the money stupidly lost by the young master and reproaching himself for this, unexpectedly admits: sat in jail" - after all, this is an accurate summary of everything that happened to both Pyotr Grinev and his faithful servant.
It is also indicative that A. S. Pushkin, especially towards the end of his career, in the depiction of the folk character is increasingly moving away from the traditional Karamzin “and peasant women know how to love”, that is, from the simple recognition of the right of the folk character to strong and deep feelings and rich inner world. A.S. Pushkin discovers the ideological and moral identity of a nobleman and a peasant: in similar concepts of good and evil, beautiful and ugly, true and false, possible and due, sin and retribution.

Of course, the folk character itself is not an absolute expression of the author's aesthetic ideal, by no means all of its sides are sympathetic to A. S. Pushkin (although all are interesting to him as an artist): he is repelled by what F. M. Dostoevsky would later call "unrestrained" - the infinity and recklessness of one's own manifestations both in good and in evil. Hearing the Kalmyk fairy tale told by Pugachev: “It’s better to get drunk on living blood, and then what God will give!” Grinev disagrees with him on purely moral grounds: “.. To live by murder and robbery means, for me, pecking at carrion.” It is also characteristic that the "old Russian gentleman" Kirila Petrovich Troekurov, who at times cruelly - quite in the spirit of "folk fun" - made fun of his guests and was personally convinced of the courage and composure of the young teacher, not only after that "fell in love and did not think anymore ... try", but categorically defends Deforge from the suspicions of the police officer: "Oh, brother, ... get out, you know where, with your signs. I won't give you my Frenchman until I sort things out myself. How can you take Anton's word Pafnutich, a coward and a liar ... ".

A. S. Pushkin does not accept folk traits - impudent plebeianism, pragmatism, rudeness and cruelty (in The Captain's Daughter, the unfortunate Vasilisa Yegorovna, on the orders of Pugachev - "Calm down the old witch!" they have something that distinguishes a nobleman from a peasant, that obliges the first to be higher than the second, to lead and direct the latter. Even the kind and selfless Savelyich ("The Captain's Daughter") persuades the young officer to undergo "vile humiliation" in order to save his life: "Don't be stubborn!

In the work of A. S. Pushkin, the folk character for the first time acquires an independent meaning as a full-fledged subject of creative research, and not just an illustration of one or another ethical, socio-political, philosophical ideas.

The folk character in the image of M. Yu. Lermontov ("A Hero of Our Time") bears a clear imprint of the author's worldview and aesthetic quest; he is deep, sincere, uncompromising, frank in his desires, direct and adamant in achieving his goals - and therefore, from an ordinary, everyday point of view, he is often immoral (Yanko, "undine", Azamat, Kazbich). The national character is "mundane", its desires and goals are subordinated to the trivial needs of everyday earthly existence and are determined by effective, but primitive laws: if you have been deceived - take revenge, if someone has penetrated your secret - kill, if you like something - get possession by any means and at any price (cf. Azamat and Pechorin in this regard). What will not change you personally, you can neither sell nor change (Kazbich and his Karagyoz), but everything else, including your own life, strength, dexterity, cost money, and you need to sell them at a higher price. No wonder the fifteen-year-old Azamat is “terribly greedy for money,” and the fearless Yanko, who is fully aware that the owner now “can’t find such a daredevil,” says: “... If he had paid better for his work, Yanko would not have left him .. .".

However, M. Yu. Lermontov, referring to the national character and drawing the opposition, favorite for romantics, between the "savage", a person living according to natural laws - the laws of his own heart, and a "civilized" person, endowed with all the advantages and disadvantages of "modern culture", in fact equalizes them, making the main subject of the image not the originality of the national character (highlanders - Russians), but the specifics of the human character, more precisely, the universal, universal. In this regard, Pechorin’s remark is interesting that “in a Circassian costume on horseback” he “looks more like a Kabardian than many Kabardians”: in fact, the nature of people is one, and the “costume” is just a change of dress at the masquerade of life. Yes, highlanders-smugglers, the same Cossacks are simpler and more frank in expressing their feelings and desires, they are closer to nature and, like nature itself, they do not know how and do not want to lie, they are just as natural and extramoral as, for example, the mysterious, the ever-wavering sea ("Taman"), the mighty impregnable mountains ("Bela", "Princess Mary") or the equally eternal and mysterious in their unattainability stars ("Fatalist"). They are internally whole and strong in spirit and body, their look is simple and clear ("... - And if he drowns?" - "Well? On Sunday you will go to church without a new ribbon ...", - "Taman". Their love (Bela) or hatred (Kazbich, "undine") is enduring and does not recognize halftones, and therefore compassion for one's neighbor. Azamat is ready to rob his father for the horse he likes or secretly sell his own sister. Kazbich, loving Bela, will not think at a critical moment kill her. Their passions are frantic (".. As soon as he drinks a chihira, he goes to chop up everything that comes to mind..."). But these people are ready to answer for their words and deeds, feelings and desires; having made a choice, they do not they look for excuses and do not give anyone - including themselves - mercy: Bela, once having fallen in love with Pechorin, will only reproach him for his dying delirium for "falling out of love with his dzhanechka"; a Cossack, who in a drunken fury hacked Vulich to death, for all conciliatory persuasions and the appeal to his Christian conscience "terrifyingly" answers: "I will not submit!". They live honestly, but they also die honestly ("che real smugglers"). And therefore they are beautiful, how beautiful - regardless of whether it brings good or evil to a person - nature itself, and therefore they are closer to the truth, closer to what the world really is and what a person really is.

A simple, pure soul, Maxim Maksimovich, perfectly understands (and accepts!) These people, although he rightly calls them "savages" for cruelty, slyness, dirt and a tendency to robbery. "Of course, in their language, he was absolutely right," says Maksim Maksimych, talking about Kazbich's cruel revenge. He prefers a ragged daring man, an abrek, over a "peaceful" man in the street: "... Our Kabardians or Chechens, although robbers, naked, are desperate heads, and these have no desire for weapons either: you will not see a decent dagger on any one", "The beshmet is always torn, in patches, and the weapon is in silver." He is simple-hearted and faithful to the end to friendship: "After all, he will come running!" - he says, waiting for a meeting with Pechorin). He is not averse to using local military tricks, from the point of view of a European, insidious and cruel: the sentry, at the prompt of the staff captain, asked Kazbich, who was prancing on a horse, to stop and immediately shot at him.

But there is one more quality that surprisingly makes the Russian officer related to the locals - that he has long been accustomed to the beauties surrounding him, as well as to the whistle of Chechen bullets: "And you can get used to the whistle of a bullet, that is, get used to hide the involuntary beating hearts..." ("Bela"). He perceives reality clearly, soberly and pragmatically: his wagon moves faster; he knows exactly which signs speak of an approaching bad weather and which ones indicate good weather, and he knows how to calculate the time of departure and the speed of movement to the pass; he knows how to behave with the locals, and even being invited to the wedding of his "kunak", he will prudently notice where his horses were put, and in time he will disappear from the celebration that has become dangerous ("Bela") His judgments are simple, logical and worldly understandable: "... And that's it, tea, the French have introduced a fashion to be bored?" - "No, the English." - "A-ha, that's what! ... but they were always notorious drunkards!" And therefore, for the protagonist of Lermontov's novel (as, indeed, for the author himself), this alone is not enough - it is not enough for him to simply live, it is important for him to determine the goal, the meaning of this life.

For M. Yu. Lermontov, the folk character is the best, most accurate and aesthetically perfect manifestation of the essence of man in general. That is why similar passions rage in the souls of representatives of completely different social and cultural strata: Mary, like Bela, wants Pechorin to belong only to her, Grushnitsky, noticing that Mary was carried away by Pechorin, spreads defamatory gossip about her and her recent friend, but after all, Kazbich, in the same way, in revenge, will kill the woman whom he seemed to love; the same Grushnitsky, again out of a sense of revenge, will not hesitate to go for direct meanness, quite comparable to robber "tricks", and will turn to his enemy with words worthy of some savage, abrek, and not an officer of the imperial army: "If you won't kill me, I'll kill you at night from around the corner. There's no place for us on earth together..."

In turn, Pechorin, in order to satisfy his own desires, will stop at nothing and no one, for he is a man, the same as all these mountaineers, smugglers, officers and Cossacks, representatives of the "water society" and inhabitants of dirty smoky dwellings in the mountains ("Bela"). They are equally unhappy, vain and miserable, equally slaves to their passions, equally distant from God, from Truth, and equally incapable of understanding it.

Thus, the folk character in the image of M. Yu. Lermontov is attractive, aesthetic, but not connected with the author's aesthetic ideal, although there was a time when the folk character was a direct embodiment of the writer's aesthetic ideal in such works as "Borodino" and "Song about the Tsar Ivan Vasilyevich ... ").

conclusions

At the end of the course work, we will draw some conclusions.

1. The problem of character typologies has a very long history, since Antiquity. Over the centuries, more and more new concepts, hypotheses and ideas about the character and about the criteria by which it can be considered have been added. The character is one. This is a set of individually unique personality traits. This is a complex formation that includes many features.

2. Regular connections and relationships between individual character traits express its structure. The structure of character allows, knowing one or another of its traits, to assume that a given person has a number of other traits associated with it. In addition, some character structures are basic, defining, leading, others are secondary, less significant.

Since character is a social phenomenon, it can change not only from the environment, but also from the will of the person himself.

3. Until now, there is no complete unanimity of opinion in science regarding the spectrum of traits that make up the structure of character. The abundance of typologies is due to the presence of a very large number of character traits. At the present stage, it became necessary to structure the whole mass of typologies and character traits.

At the heart of the classifications of character traits, different researchers laid down different criteria, sometimes contradicting each other. Identification of types as integral morphopsychological syndromes (E. Kretschmer, W. Sheldon, etc.); systems of stable connections between individual features; by the type of inclination and its qualitative level (A. Lazursky); by the predominance of one or more "elements of character" - the mind, feelings, will; according to the content and forms of manifestation of aspirations (F. Polan)

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Being born, a new personality receives a unique character as a gift. Human nature can consist of traits inherited from parents, or it can manifest itself in a completely different, unexpected quality.

Nature not only determines behavioral reactions, it specifically affects the manner of communication, attitude towards others and one's own person, to work. Character traits of a person create a certain worldview in a person.

A person's behavioral responses depend on the nature

These two definitions create confusion, because both of them are involved in the formation of personality and behavioral responses. In fact, the character and temperament are heterogeneous:

1. The character is formed from a list of certain acquired qualities of the personality's mental make-up.
2. Temperament is a biological quality. Psychologists distinguish four types of it: choleric, melancholic, sanguine and phlegmatic.

Having the same warehouse of temperament, individuals can have a completely different character. But temperament has an important influence on the development of nature - smoothing or sharpening it. Also, human nature directly affects temperament.

What is character

Psychologists, speaking of character, mean a certain combination of traits of an individual, persistent in their expression. These traits have the maximum impact on the behavioral line of the individual in diverse relationships:

• among people;
• in the work team;
• to one's own personality;
• to the surrounding reality;
• to physical and mental labor.

The word "character" is of Greek origin, it means "to mint". This definition was introduced into use by the naturalist of Ancient Greece, the philosopher Theophrastus. Such a word really, very accurately defines the nature of the individual.

The character seems to be drawn as a unique drawing, it gives rise to a unique seal that a person wears in a single copy.

Simply put, character is a combination, a combination of stable individual mental characteristics.

How to understand nature

To understand what kind of nature an individual has, you need to analyze all his actions. It is behavioral reactions that determine examples of character and characterize the personality.

But this judgment is often subjective. Far from always a person reacts as intuition tells him. Actions are influenced by upbringing, life experience, customs of the environment where the person lives.

But you can understand what kind of character a person has. Observing and analyzing the actions of a certain person for a long time, one can identify individual, especially stable features. If a person in completely different situations behaves in the same way, showing similar reactions, makes the same decision - this indicates the presence of a certain nature in him.

Knowing which character traits are manifested and dominated by a person, it is possible to predict how she will manifest herself in a given situation.

Character and traits

A character trait is an important part of a personality; it is a stable quality that determines the interaction of a person and the surrounding reality. This is a defining method of resolving emerging situations, so psychologists consider a trait of nature as a predictable personal behavior.

A person acquires features of character in the course of the entire life span, it is impossible to attribute individual features of nature to innate and characterological. In order to analyze and assess the personality, the psychologist not only determines the totality of individual characteristics, but also highlights their distinctive features.

It is the character traits that are defined as leading in the study and compilation of the psychological characteristics of the individual.

But, defining, evaluating a person, studying the features of behavior in the social plan, the psychologist also uses knowledge of the content orientation of nature. It is defined in:

• strength-weakness;
• latitude-narrowness;
• static-dynamic;
• integrity-contradiction;
• integrity-fragmentation.

Such nuances constitute a general, complete description of a particular person.

List of personality traits

Human nature is the most complex cumulative combination of peculiar features, which is formed into a unique system. This order includes the most striking, stable personal qualities, which are revealed in the gradations of human-society relationships:

In addition to character traits included by psychologists in the gradation of relationships (a separate category), manifestations of nature in the moral, temperamental, cognitive and sthenic spheres were identified:

• moral: humanity, rigidity, sincerity, good nature, patriotism, impartiality, responsiveness;
• temperamental: gambling, sensuality, romance, liveliness, receptivity; passion, frivolity;
• intellectual (cognitive): analyticity, flexibility, inquisitiveness, resourcefulness, efficiency, criticality, thoughtfulness;
• sthenic (volitional): categoricalness, perseverance, obstinacy, stubbornness, purposefulness, timidity, courage, independence.

Many leading psychologists are inclined to believe that some personality traits should be divided into two categories:

1. Productive (motivational). Such traits push a person to commit certain acts and actions. This is the goal-feature.
2. Instrumental. Giving personality during any activity individuality and way (manners) of action. These are traits.

Gradation of character traits according to Allport

Allport's theory

The famous American psychologist Gordon Allport, an expert and developer of gradations of personality traits of an individual, divided personality traits into three classes:

Dominant. Such features most clearly reveal the behavioral form: actions, activities of a certain person. These include: kindness, selfishness, greed, secrecy, gentleness, modesty, greed.

Ordinary. They are equally manifested in all the numerous spheres of human life. These are: humanity, honesty, generosity, arrogance, altruism, egocentrism, cordiality, openness.

Secondary. These nuances do not have a particular effect on behavioral responses. These are not dominant behaviors. These include musicality, poetry, diligence, diligence.

A strong relationship is formed between the traits of nature existing in a person. This regularity forms the final character of the individual.

But any existing structure has its own hierarchy. The warehouse of man was no exception. This nuance is traced in Allport's proposed gradation structure, where minor features can be suppressed by dominant ones. But in order to predict the act of a person, it is necessary to focus on the totality of the features of nature..

What is typicality and individuality

In the manifestation of the nature of each personality, it always reflects the individual and typical. This is a harmonious combination of personal qualities, because the typical serves as the basis for identifying the individual.

What is a typical character. When a person has a certain set of traits that are the same (common) for a particular group of people, such a warehouse is called typical. Like a mirror, it reflects the accepted and habitual conditions for the existence of a particular group.

Also, typical features depend on the warehouse (a certain type of nature). They are also a condition for the appearance of a behavioral type of character, in the category of which a person is “recorded”.

Having understood exactly what signs are inherent in a given personality, a person can make an average (typical) psychological portrait and assign a certain type of temperament. For example:

Such typical character traits corresponding to a certain temperament are observed in each (to one degree or another) representative of the group.

individual manifestation. Relationships between individuals always have an evaluative characteristic, they are manifested in a rich variety of behavioral reactions. The manifestation of individual traits of an individual is greatly influenced by emerging circumstances, a formed worldview and a certain environment.

This feature is reflected in the brightness of various typical features of the individual. They are not the same in intensity and develop in each individual individually.

Some typical features are so powerfully manifested in a person that they become not just individual, but unique.

In this case, typicality develops, by definition, into individuality. This classification of personality helps to identify the negative characteristics of the individual that prevent them from expressing themselves and achieving a certain position in society.

Working on himself, analyzing and correcting the shortcomings in his own character, each person creates the life he aspires to.

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 found both 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 a truly strong man, he had the courage to go not only against one influential person, Famusov, but also against a 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" is a strong-willed person. 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 “The Wise Scribbler” is completely devoid of any mental strength, he was afraid of danger 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 has deprived the hero of 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 a 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 is a real hero, although he himself never understood his 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) The eccentric Captain Jack Sparrow from Gore Verbinski's Pirates of the Caribbean: At World's End epitomizes 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 a poor family, and there was no success at the beginning of his career. Now this actor is very popular, the problems only hardened his character.
6. (52 words) Stephen Hawking, who is the luminary of modern science, has been fighting amyotrophic lateral sclerosis since the age of 20. 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 his scientific work, inspires young scientists to new achievements, even appears in the 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 the child in 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 live a 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, a whole year of her life passed in the hospital ward. 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 about going into battle with a drawn saber, 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?”.

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