In addition to the main characters, it also includes minor ones who play an equally important role in the play.
With replicas of minor characters, Ostrovsky draws a background that speaks about the state of the main characters, draws the reality surrounding them. From their words, you can learn a lot about the customs of Kalinov, his past and aggressive rejection of everything new, about the requirements that apply to the inhabitants of Kalinov, their way of life, dramas and characters.
In the remarks leading us to the image of Katerina and her monologue-characteristic, a modest young beautiful woman about which no one can say anything bad. Only the attentive Varvara saw her reaction to Boris and pushes her to betrayal, not seeing anything wrong in it and not at all tormented by a sense of guilt towards her brother. Most likely, Katerina would never dare to change, but the daughter-in-law simply hands her the key, knowing that she will not be able to resist. In the person of Varvara, we have proof that there is no love in the house of Kabanikh between relatives, and everyone is only interested in his personal life, his benefits.
Her lover, Ivan Kudryash, also does not feel love. He can cheat on Varvara simply out of a desire to harm the Wild, and would do this if his daughters were older. For Varvara and Kudryash, their meeting is an opportunity to satisfy bodily needs, to mutual pleasure. Animal lust is the obvious norm of the night Kalinov. The example of their couple shows the bulk of Kalinov's youth, the same generation that is not interested in anything other than their personal needs.
To young generation the married Tikhon and the unmarried Boris also apply, but they are different. This is rather an exception to the general rule.
Tikhon represents that part of the youth that is suppressed by the elders and is completely dependent on them. He hardly ever behaved like his sister, he is more decent - and therefore unhappy. He cannot pretend to be submissive, like his sister - he is really submissive, his mother broke him. It is a pleasure for him to get drunk to death when there is no constant control in the face of his mother.
Boris is different, because he did not grow up in Kalinovo, and his late mother is a noblewoman. His father left Kalinov and was happy until he died, leaving the children orphans. Boris saw a different life. However, due to younger sister, he is ready for self-sacrifice - he is in the service of his uncle, dreaming that someday Dikoy will separate them part of the inheritance left by his grandmother. In Kalinov there are no entertainments, outlets - and he fell in love. This is really falling in love, not animal lust. His example shows the poor relatives of Kalinov, forced to live with rich merchants.
The example of Kuligin, a self-taught mechanic trying to create a mobile perpetuum, shows the inventors of small towns who are forced to constantly ask for money to develop inventions, and receive insults and humiliating refusals, and even abuse. He's trying to bring progress to the city, but he's the only one doing it. The rest are satisfied with everything, or they have resigned themselves to fate. This is the only positive minor hero plays, but he resigned himself to fate. He can't fight Wild. The desire to create and create for the people is not even paid. But it is with the help of him that Ostrovsky condemns " dark kingdom". He sees the beauty of the Volga, Kalinov, nature, approaching thunderstorms - which no one else sees except him. And it is he who, giving the corpse of Katerina, utters the words of censure to the “dark kingdom”.
In contrast to him, the "professional" wanderer Feklusha settled well. She does not bring anything new, but she knows very well what those from whom she expects to eat deliciously want to hear. Change is from the devil who hunts in big cities confusing people. All new creations are also from the devil - exactly what is fully consistent with the personal opinion of Kabanikh. In Kalinov, assenting to Kabanikh, Feklusha will always be full, and food and comfort are the only things she is not indifferent to.
Not last role a half-crazy lady also plays, about whom it was known that she sinned a lot in her youth, and in her old age she became obsessed with this topic. “Sin” and “beauty” are two inseparable concepts for her. Beauty is gone - and the meaning of life is gone, this, of course, becomes God's punishment for sins. On this basis, the lady goes crazy, and immediately begins to denounce, seeing a beautiful face. But on the impressionable Katerina, she gives the impression of an angel of retribution, although he himself invented most of God's terrible punishment for his act.
Without the secondary characters, The Thunderstorm could not have been so emotionally and meaningfully rich. With thoughtful replicas, like strokes, the author creates complete picture the hopeless life of the dark, patriarchal Kalinov, which can lead to death any soul that dreams of flying. That's why people don't fly there. Or they fly, but in a matter of seconds, in free fall.
It is probably not quite correct to call these characters extra-plot, episodic. Yes, they appear sporadically, at first glance they serve as a background to the overall plot structure, they serve, like the same Boris, as a piece of furniture. But their role is very important, without them the whole work could crumble, as a house crumbles without having binding reinforcement.
This same Boris is so alien to the atmosphere of the town that without him the analysis of this atmosphere would be tasteless, as unsalted food is tasteless. He is a kind of seasoning that sharpens the perception of the main thing, so that one cannot agree with Dobrolyubov, because Boris, who is aware of his strangeness, is very important, although literary analysis displayed in a group of episodic characters.
Another image is interesting - Barbara, in the very name of which barbaric beginnings, pagan manners are encoded. She is a kind of "antonym" of Katerina. But if we consider the role of Feklusha, using the decoding of the symbolism of names necessary when considering Ostrovsky's plays, then her name, translated as divine, fully corresponds to the image of a wanderer. And her friend Glasha (sweet) really loves to listen to Feklusha's "sweet" stories.
Most of Ostrovsky's contemporaries saw the basis of "Thunderstorm" in a domestic conflict. Is it so? Is it banal love drama, a typical triangle between Katerina, Boris and Tikhon, in which they must all be acting characters? To be honest, such an interpretation looks too petty for a playwright of such high level. Wouldn't it be more logical to evaluate the play as a tragedy in which the action takes place in Katerina's soul, and all the other characters are episodic, out of plot?
It was then that their task of creating an atmosphere of patriarchy, of that conservatism that many sociologists considered the salvation of society, was brilliantly accomplished. On their dull background unfolds internal tragedy Katerina, and her death highlights the failure of the conservatives.
Then even more clearly visible is the role of Kabanikh, at first glance secondary. Marfa Ignatievna has a lot in common with Katerina. She believes in an “equivalent exchange” with God, she is the same maximalist, but short-circuited on the Old Believer rites. And, frankly, it is not the cruelty of Kabanikha that destroys Katerina, but the sympathy of Tikhon.
In dialogues with Kabanikha, the role of Feklusha grows, she is, as it were, a preacher of the old, patriarchal, although in herself, in her essence, she is a cunning parasite who knows how to speak “deliciously” for her own good.
The functions in the play by Varvara, Kudryash and Shapkin can be combined. All of them are pagans in their souls, that is, people who are opposite to Katerina's worldview. They played their part in the beginning of the drama and moved into the background, shading her act.
/ / / The role of secondary characters in Ostrovsky's play "Thunderstorm"
From the pen of A.N. Ostrovsky published about 60 plays that glorified the name of the author and made him eternal in the memory of Russian literature. One of the most decisive and frank is the play "", in which we observe the world of tyrants and their boundless deeds, which ultimately lead to tragic consequences.
The action takes place in the most ordinary town of Kalinov. But what happens in it draws our attention. We, the readers, are watching the suffocating situation in which the inhabitants of Kalinov found themselves. They are daily affected by cruel merchants with all legal status.
There are many in the play. minor images. They help the author to reveal the types of relationships between people of that time, to reveal the character traits of the main characters. Conventionally, you can divide the characters into pairs that are somewhat similar.
Very similar to each other (Kabanikha) and Wild. They are powerful people, no one dares to argue with them. Wild dominates in the town of Kalinov, and Kabanikha in his estate. Both persons respect each other, because they consider themselves similar and the same.
Daughter Kabanova, is a friend of Katerina. Girls always tell each other secrets. Varvara learned and adapted to life in her mother's house. And her main skill was lying. In her speech, she directly states that without this it is impossible to live in their family. She resembles her mother in her manners and character. She is equal to another character - Ivan Kudryash. He is lively and frisky, he is cocky and boastful. In some ways, he reminds us of the Wild himself. A couple of Curly and Varvara eventually run away from the city. But will they be able to become different people and free themselves from the principles of tyranny? This is known only to the author.
There are two similar male images. This is Katerina's husband - Tikhon and her beloved Boris. Both of them can be considered weak and spineless. could not protect Katerina from the constant oppression of Kabanikh and silently obeyed the will of his mother. And Boris could not take the girl with him to Siberia, and thereby save her from suicide. He was completely dependent on his Uncle Wild. Both characters simply do not deserve attention, much less Katerina's love.
The wanderer Feklusha and are also paired, only this is completely opposite images. Feklusha is an adherent of the "dark kingdom". She always comes to the defense of tyrants. Kuligin, on the other hand, opposes the images of the Wild, Boar and other similar persons. It was he who was able to express indictment towards Marfa Kabanova after the death of Katerina.
Thanks to such a variety of secondary characters, we see fate against their background. main character Catherine, who has no equal in this play. Only she was able to deal an irreparable blow to the "dark kingdom" and express a frank protest of cruelty, callousness and lawlessness.
Character system. A character (literary hero) is the protagonist of a plot work of art.
the organization of characters in a literary and artistic work appears as a system of characters.
The character system should be considered from two points of view:
1. As a system of relationships between characters (struggle, clashes, etc.) - that is, from the point of view of the content of the work;
2. As an embodiment of the principle of composition and a means of characterizing the characters - that is, as the position of the author.
like any system, the character sphere is characterized through its constituent elements (characters) and structure (a relatively stable method = the law of the connection of elements).
character sphere elements
the main ones are in the center of the plot, have independent characters and are directly related to all levels of the content of the work,
secondary - also quite actively participating in the plot, having their own character, but which receive less authorial attention; in some cases, their function is to help reveal the images of the main characters,
episodic - appearing in one or two episodes of the plot, often not having their own character and standing on the periphery of the author's attention; their main function is to give an impetus to the plot action at the right time or to set off certain features of the main and secondary characters).
in addition, there are also so-called. off-stage characters, about which in question, but they do not participate in the action (for example, in A. S. Griboyedov’s “Woe from Wit” this is Princess Marya Alekseevna, whose opinions everyone is so afraid of, or Famusov’s uncle, a certain Maxim Petrovich).
for example, Defoe's novel "Robinson Crusoe" seems to be about the life of one person. However, the novel is densely populated. Robinson's memories and dreams are filled with different faces (= off-stage characters): the father who warned his son against the sea; dead companions, with whose fate he often compares his own; the basket-maker, whose work he observed as a child; the desired comrade is "a living person with whom I could talk." The role of non-stage characters, as if casually mentioned, is very important: after all, Robinson on his island is both alone and not alone, since he personifies the total human experience, diligence and enterprise of his contemporaries and compatriots.
What are the criteria for determining the category of characters?
there are two of them. It:
- the degree of participation in the plot and, accordingly, the amount of text that this character is given;
- degree of importance this character to reveal the sides of the artistic content.
most often these parameters coincide. So, in the "fathers and sons" of Bazars - the main character in both respects, Pavel Petrovich, Nikolai Petrovich, Arkady, Odintsova - are secondary characters in all respects, and Sitnikov or Kukshin are episodic.
example - " Captain's daughter» Pushkin.
“It would seem that it is impossible to imagine a more episodic image than the Empress Catherine: it seems that she exists only in order to bring the rather complicated story of the main characters to a happy denouement. But for the problematics and the idea of the story, this image is of paramount importance, because without it the most important idea of the story, the idea of mercy, would not have received a semantic and compositional completion. Just as Pugachev at one time, in spite of all circumstances, pardons Grinev, so Ekaterina pardons him, although the circumstances of the case seem to point against him. Just as Grinev meets Pugachev like a person with a person, and only later does he turn into an autocrat, so Masha meets with Catherine, not suspecting that the Empress is in front of her - also like a person with a person. And had it not been for this image in the system of characters in the story, the composition would not have been closed, and therefore the idea of the human connection of all people, without distinction of estates and positions, would not have sounded artistically convincing, the idea that “doing alms” is one of the best manifestations of human spirit, but a solid foundation of human community - not cruelty and violence, but kindness and mercy "
and it also happens that the question of dividing characters into categories generally loses all meaningful meaning.
for example, in the composition dead souls» episodic characters differ from the main ones only quantitatively, not qualitatively: in terms of the volume of the image, but not in terms of the degree of the author's interest in them.
The number of characters in the poem literally rolls over. Uncle Minyay and Uncle Mityai, the son-in-law of Nozdrev Mizhuev, the boys begging Chichikov at the gates of the hotel, and especially one of them, “a great hunter to stand on the heels”, and the staff captain of kisses, and a certain assessor Drobyazhin, and fetinya, a master of whipping featherbeds, some lieutenant who came from Ryazan, a big, apparently, hunter for boots, because he had already ordered four pairs and was constantly trying on the fifth, and further, further, further.
these figures do not give impetus to the plot action and in no way characterize Messrs. Chichikov. Moreover, the detailing of these figures is clearly excessive - let's remember the men who talked about manilovka and luring, Ivan Antonovich's pitcher snout, Sobakevich's wife, the daughter of an old povytchik, whose face was threshing peas at night, the late husband of the box, who loved that someone sometimes I scratched his heels at night, but without this I couldn’t fall asleep at all.
however, this is not an excess and certainly not the author's inability to build a plot. This, on the contrary, is a subtle compositional technique, with the help of which Gogol created a special setting. He showed not just images of individual people, but something broader and more significant - the image of the population, the people, the nation. Peace, finally.
almost the same composition of the system of characters is observed in Chekhov's plays, and the matter is even more complicated: the main and secondary characters cannot be distinguished even by the degree of participation in the plot and the volume of the image. With the help of this system, the Czechs show “a certain multitude of ordinary people, ordinary consciousness, among which there are no outstanding, outstanding heroes, on whose images one can build a play, but for the most part they are nonetheless interesting and significant. For this, it is necessary to show a lot of equal characters, without singling out the main and secondary ones from them; only in this way is something in common revealed in them, namely, the drama of a failed life, inherent in everyday consciousness, a life that has passed or is passing in vain, without meaning and even without pleasure "(c)
character sphere structure
how many characters are needed and enough?
while working on the “Three Sisters”, Chekhov ironically said to himself: “I am not writing a play, but some kind of confusion. A lot of actors“It’s possible that I’ll go astray and quit writing.” And at the end he recalled: “it was terribly difficult to write“ three sisters ”. After all, there are three heroines, each should be on her own model, and all three are the general's daughters!
as in the classic, where “red natives and natives (positive and countless hordes)” are introduced into the play “citizen Jules Verne”. (Bulgakov. Crimson Island).
so the number of characters.
to form a system of characters, at least two subjects are needed.
as an option - there may be a bifurcation of the hero - Semyon Semenovich with glasses and without glasses (harms, "cases").
The maximum number of characters is not limited.
according to some estimates, there are about 600 characters in Tolstoy's "War and Peace", and about 2,000 in Balzac's "human comedy". (For comparison, the population of a medieval Western European city was 1-3 thousand inhabitants).
the numbers are impressive.
and immediately the question is - can you create a work with a similar number of characters? No, stuffing characters into a story is easy. But then you have to manage them - so that your thing does not look like a telephone directory.
characters must interact with each other.
some succeed. For example, multi-character things of the king - “necessary things” (needful things), “armageddon” (another translation is “opposition” the stand), “under the dome” (under the dome)
or the classic example is Homer, the Odyssey. Philologists have established more than 1,700 connections between 342 characters in the poem. There is a connection between the characters if, according to the plot, they meet, talk to each other, quote each other's words to a third character, or it is clear from the text that they are familiar. The structure of the Odyssey surprisingly resembles a social network - such as Facebook or Twitter. Is history repeating itself?
so, the system of characters is the interconnections and relations between the Persians, that is, the concept related to the composition of the work.
The most important property of the character system is hierarchy.
We have already talked about this here:
in most cases, the character is at the point of intersection of the three rays.
the first is friends, associates (friendly relations).
the second - enemies, ill-wishers (hostile relations).
third - others strangers(neutral relationship)
these three rays (and the people in them) create a strict hierarchical structure http://proza.ru/2013/12/17/1652
we continue the conversation.
“The plot in its formation is, first of all, the creation of a system of characters. An important stage is the establishment of the central figure and then the establishment of the rest of the characters, who are located around this figure on a descending ladder ”(GA Shengeli)
There are two types of connection between characters - according to the plot (thesis-antithesis) and according to the ratio of characters.
the simplest and most common case is the opposition of two images to each other.
Mozart and Salieri, Grinev and Shvabrin, Oblomov and Stolz, kibalchish boy and bad boy.
somewhat more difficult case, when one character is opposed to all others, as, for example, in Griboedov's comedy "Woe from Wit", where even quantitative ratios are important: it was not for nothing that Griboedov wrote that in his comedy "twenty-five fools per one smart person."
“The characters are grouped in the work. The simplest case is the division of all actors into two camps: friends and enemies of the protagonist. In more complex works there may be several such groups, and each of these groups is connected by various relationships with other persons ”(tomashevsky b.v. poetics)
Thus, in “Anna Karenina” the main compositional grouping of characters is according to the thematic principle stated at the beginning of the novel: “everyone happy families similar to each other, each unhappy family is unhappy in its own way. Different families in the novel develop this theme in different ways.
in “fathers and sons”, in addition to the opposition of Bazarov to all other characters that is obvious and realized in the plot, another, more hidden and not embodied in the plot, compositional principle is realized, namely, the comparison of the similarity of two groups of characters: on the one hand, this is Arkady and Nikolai Petrovich, on the other hand, Bazarov and his parents. “In both cases, these characters embody the same problem - the problem of the relationship between generations. Turgenev shows that, whatever individual people, the problem remains essentially the same: it is an ardent love for children, for whom, in fact, older generation and lives, this is an inevitable misunderstanding, the desire of children to prove their “adulthood” and superiority, dramatic internal conflicts as a result of this, and yet, in the end, the inevitable spiritual unity of generations ”(c)
there are also more complex compositional connections between characters.
an example is "crime and punishment".
“the system of characters is organized around the main character Raskolnikov; the rest of the characters are in complex relationships with him, and not only in the plot; and it is in extra-plot connections that the richness of the composition of the novel is revealed.
First of all, Raskolnikov is compositionally connected with Sonya. In their life position, they are primarily opposed. But not only. They also have something in common, primarily in pain for a person and in suffering, which is why Sonya Raskolnikov understands so easily and immediately. In addition, as the schismatics himself emphasizes, they are both criminals, both murderers, only the dormouse killed herself, and the other schismatics. Here the comparison ends and the opposition begins again: for Dostoevsky, these two “murders” are not at all equivalent, moreover, they have a fundamentally opposite worldview meaning. And yet, both criminals, who are united by the gospel motif of sacrifice for humanity, the cross, redemption, it was not by chance that Dostoevsky emphasized the strange neighborhood of "a murderer and a harlot who came together to read an eternal book." So, Sonya is both the antipode and a kind of double of Raskolnikov.
the rest of the characters are also organized around Raskolnikov on the same principle; it is, as it were, repeatedly reflected in its counterparts, but reflected with distortions, or incompletely.
Thus, Razumikhin approaches Raskolnikov in his rationality and confidence that life can be arranged without God, relying only on himself, but he is sharply opposed to him, since he does not accept the idea of "blood according to conscience."
Porfiry Petrovich is the antipode of Raskolnikov, but there is something Raskolnikov in him, because he understands the main character faster and better than anyone.
Luzhin takes the practical part of Raskolnikov's theory of the right to crime, but completely emasculates all sublime meaning from it. In the "new currents" he sees only a justification for his boundless egoism, believing that the new morality gives him the sanction to try only for his own benefit, not stopping at any moral prohibitions. Luzhin reflects Raskolnikov's philosophy in a distorting mirror of cynicism, and Raskolnikov himself looks with disgust at Luzhin and his theory - thus, we have another double, another antipode twin.
Svidrigailov, as is typical of the ironist, brings Raskolnikov's ideas to their logical conclusion, advising him to stop thinking about the welfare of mankind, about the issues of "man and citizen". But, as everyone penetrated, Svidrigailov does not accept Raskolnikov's theory personally for himself, being skeptical of any philosophy. And Svidrigailov disgusts Raskolnikov; they again turn out to be mismatched twins, antipodal twins.
such a composition of the system of characters is caused by the need to raise and solve complex moral and philosophical questions, to consider the theory of the protagonist and its implementation in practice in a variety of applications and aspects. The composition here, therefore, works to reveal the problematics ”(c) l.v. black man. Character system.
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beautiful world wise thoughts and fairy tales will be presented to the reader by the book "Legends and parables of Shou-Tao". For many years, they were passed from mouth to mouth from father to son, from teacher to student, preserving the life experience of the Immortal clan. The heroes of these stories are the sages and hermits of antiquity, but their wisdom seems close, accessible and intelligible to our contemporaries precisely because it comes to us through parables. In order to come to these simple worldly and moral truths, turned into parables, it took effort, life ...
There was no one around Yakov Shekhter
Deep mystical penetration that will not leave fans indifferent Paulo Coelho and Carlos Castaneda. way from ordinary person- with all its inherent shortcomings and domestic problems- to the Master, who controls his own destiny, is available to each of us. One of the main storylines novel - the story of the murder of Talgat Nigmatulin, an incident that shook Vilnius in the eighties. True reason this mysterious murder has remained misunderstood. The heroine of the novel is a sensible graduate of the University of Tartu...
