Flashy character.
Tsundere - the word comes from "tsun-tsun", which means - "disgust", and "dere-dere", which means - "falling in love". Such characters initially appear as unpleasant, often narcissistic, quick-tempered, very proud and selfish types, but throughout the plot they reveal the "bright", good side of the character.
In fact, the essence of a tsundere comes down to changing your attitude towards others from arrogant and boorish to sentimental and loving in a short period of time, a few minutes. In especially advanced cases, the tsundere goes from "tsun-tsun" to "dere-dere" and vice versa several times per second.
Alternatively, in society he behaves closed, harshly, treats everyone contemptuously and indifferently, and alone with himself the hero becomes sensitive and gentle.
In most cases, inexperienced in relationships with the opposite sex, when a person who likes a tsundere blushes, starts to stutter, etc.
As you understood from the translation of the name of this type above, sometimes such changes in the character of a character of this type can be due to falling in love.
Often, characters of this type look invincible. Some try to make many friends. Some prone to foul language/too rude language. Most characters of this type calmly use physical strength to make someone understand.
Tsunaho, an alternative name - tsunbaka or more neutrally - tsundoji - these characters really want to seem bad, but because of clumsiness, and often narrow-mindedness, they always confuse everything, drop things, fall themselves and generally behave comically. Subtype of tsundere.
A tsuntere is a more open (and moe-like) tsundere. "Tereru" means "shy". That is, a tsundere who tries to appear cold and unapproachable, but due to his own shyness sometimes gives out real feelings. Thus it becomes clear that the character is actually "dere-dere". Subtype of tsundere.
Tsungire - "gire" comes from "kireru" (short circuit, meaning a state of mind such as "jammed / jumped"). If you make this character angry, then ... Better not. If this character is cold with you, and you are in no hurry to find out why this attitude would be, then this may lead him to nervous breakdown with unpredictable consequences. Hurry to find out from him the reason, regardless of the difficulties. Get to know his "dere" side before it's too late. Don't leave him alone!
At first glance, it is sometimes difficult to distinguish a tsungire from a yandere, but a flash of rage and madness are still different things.
Sometimes a tsungire is a tsundere without a love object. For example, she behaves like "tsun-tsun" with most people around, but like "dere-dere" with relatives and friends, while most tsundere often show "dere-dere" towards certain person opposite sex.
An impenetrable person, he is ready to fight back for anyone and probably loved to fight as a child, however, only with the closest person does he reveal his kinder side. He does not seek to make friends, and in general around him only those who themselves approached him and liked him. Becoming his friend is difficult, but possible. Subtype of tsundere.
Tsunshun is a subspecies of tsundere, but unlike the tsundere themselves, such a character will first blurt out nasty things without thinking, and then become depressed because of this. Perhaps such a character reproaches himself for being, as he thinks, too emotional. Subtype of tsundere.
Tsundora literally means "tundra". This is the most closed and gloomy type of character, ice. Colder than the Snow Queen, but if you don't know why such a favor, dig a grave. It will melt and... Explode. Subtype of tsundere.
Seminar 3.
Character. Hero. Character.
Types of characters.
Character as a character and type.
Character system.
The image of a person in the lyrics
Materials taken from the site Linguistic and cultural thesaurus "Humanitarian Russia" (http://www.philol.msu.ru/~tezaurus/docs/3/articles/2/2/3)
Ginzburg L. Ya. About a literary hero. L., 1979.
Khalizev V. E. Theory of Literature. M., 1999.
Concept and terms. Character types
Character(French personnage, from lat. persona - person, face, mask ) – type of artistic image, the subject of action, experience, statements in the work. In the same sense in modern literary criticism phrases are used literary hero character(predominantly in drama B, where the list of faces traditionally follows the title of the play). In this synonymous series, the word character- the most neutral, its etymology (persona - a mask worn by an actor in ancient theater) is hardly perceptible. hero(from the Greek heros - a demigod, a deified person) in some contexts it is embarrassing to call someone who is devoid of heroic traits (for example, W. Thackeray gave the subtitle to Vanity Fair: “A novel without a hero”). The concept of a character (hero, character) - the most important in the analysis epic and dramatic works, where it is the characters that form a certain system, and the plot (i.e., the system, the course of events) form the basis of the objective world. In an epic, a hero can be narrator (narrator), if he participates in the plot (Grinev in Pushkin's The Captain's Daughter, Makar Devushkin and Varenka Dobroselova in F.M. Dostoevsky's epistolary novel Poor People). AT lyrics that recreates, first of all, inner world person, the characters (if any) are depicted dotted, fragmentary, and most importantly - in inseparable connection with the experiences of a lyrical subject (for example, a peasant girl "greedily" looking at the road in the poem "Troika" by N.A. Nekrasov, an imaginary interlocutor in M. Tsvetaeva's poem "An Attempt of Jealousy"). Illusion own life characters in the lyrics (compared to the epic drama) is drastically weakening.
Most often, a literary character is a person. The degree of specificity of its image can be very different and depends on many reasons. He can occupy in the character system different place and, accordingly, be drawn full-length or presented through few details. So, in Pushkin's " stationmaster" around the main character, Samson Vyrin, are replaced episodic faces, in particular, in the finale, a "crooked boy" appears, as if replacing his St. Petersburg grandchildren.
But within episode the episodic person is often in the center of attention (Feklusha in Ostrovsky's The Thunderstorm, Danila on his way in the hunting scenes in Tolstoy's War and Peace). The choice of hero itself depends to a large extent on genre; one can speak of "genre heroes" in traditionalist literature. So, in the epic, the hero, according to N. Boileau, must be noble both in origin and in character, but at the same time be believable:
The hero, in whom everything is small, is only suitable for a novel.
May he be brave, noble,
But still, without weaknesses, he is not nice to anyone:
Hot-tempered, impetuous illustration is dear to us;
He cries from resentment - a useful detail,
So that we believe in its plausibility.
A comedy should be written to a poet, “that he understood an eccentric, and a wast, and a sloth, / And a foolish veil, and an old jealous one,” who studied “citizens, courtiers.”
Image structure in epic works other than drama. T. Mann noted the advantages of the narrator, the novelist, over the playwright: "I rather perceive the drama as the art of the silhouette and feel only the narrated person as a voluminous, integral, real and plastic image." But most of all, the principles and techniques of the image are determined by the idea of the work, creative method writer: about the secondary character of a realistic story (for example, about Gagin in "Ace" by I.S. Turgenev), biographically, socially, more has been reported than about the main character of a modernist novel. “Do many readers remember the name of the narrator in Nausea or in The Outsider? - wrote in 1957 A. Robbe-Grillet, one of the founders and theorists of the French "new novel". - [...] As for K. from "The Castle", he is content with a simple initial, he does not own anything, he has neither a family nor his own face; maybe he’s not even a surveyor at all.” But the psychology, myths and paradoxes of the consciousness of the heroes of these novels by J.-P. Sartre, A. Camus, F. Kafka reflected the process of depersonalization, tragically experienced by the authors themselves.
Along with people, animals, plants, things, natural elements, fantasy creatures, robots ("Traveling Frog" by V.M. Garshin, " Blue bird"M. Maeterlinck, "Mowgli" by R. Kipling, "Amphibian Man" by A. Belyaev, "War with Salamanders" by K. Chapek, "Solaris" by St. Lem).
V.M. Garshin. Traveler Frog (Moscow, 1937). Ill.G. Nikolsky.
There are genres, types of literature in which such anthropomorphic characters are obligatory or very likely: fairy tale, fable, ballad, animal literature, Science fiction and etc.
The character sphere of literature consists not only of individual subjects, but also collective heroes (their prototype is choir in ancient drama). Interest in the problems of nationality, social psychology, in particular to the psychology of the crowd, stimulated in the XIX-XX centuries. development of this image angle, introduction to the plot crowd scenes(crowd in "Cathedral Notre Dame of Paris" V. Hugo, a market in the "Belly of Paris" by E. Zola, a working settlement in M. Gorky's novel "Mother", "old women", "neighbors", "guests", "drunkards" in L. Andreev's play "A Man's Life" etc.) are close to collective group characters, where the number of persons is limited and they are usually named by name (seven "temporarily obligated" men in N.A. Nekrasov's poem "Who Lives Well in Rus'").
Most works have off-stage characters expanding its space-time framework and enlarging the situation (“The Misanthrope” by Molière, “Woe from Wit” by Griboyedov). This concept is applied not only to drama but also to the epic, where the analogue of the scene can be considered a direct (i.e. not given in the retelling of some hero) image of faces. So, in Chekhov's story "Chameleon", the general and his brother, lovers of dogs of different breeds, belong to off-stage persons. There are works where the off-stage hero is the main one. Such is the play by M. Bulgakov “Alexander Pushkin (The Last Days), which takes place after the death of the poet. According to the memoirs of E.S. Bulgakova, V.V. Veresaev at first “was stunned that M.A. decided to write a play without Pushkin (otherwise it would be vulgar), but after thinking it over, he agreed. The expectation of a hero or heroine who never appears can be symbolic (Godo in S. Beckett's play "Waiting for Godot", Tanchor in V. Rasputin's story "Deadline").
Another type of character borrowed , those. taken from the works of other writers and usually bearing the same name. Such heroes are natural if the plot is borrowed (Phaedra and Hippolytus in the tragedies "Hippolytus" by Euripides, "Phaedra" by Seneca, "Phaedra" by Racine). But a hero known to the reader (and unknown people are not addressed in such cases) can be introduced into a new ensemble of characters, into a new plot (the play “Don Quixote in England” by G. Fielding, Molchalin in the Saltykov-Shchedrin cycle “In the Environment of Moderation and Accuracy” , Chichikov, Nozdrev and other heroes " dead souls" in "The Adventures of Chichikov" by Bulgakov). (In modern popular literature, the genre remake, where this technique is played up in every possible way.) in such cases, borrowing a character, on the one hand, exposes the conventions of art, on the other hand, contributes to the semiotic richness of the image and its laconicism: after all, the names of “foreign” heroes, as a rule, have long become common nouns, the author does not they need to be characterized in some way. So, in "Eugene Onegin" on Tatiana's name day come "Skotinins, a gray-haired couple, / With children of all ages, counting / From thirty to two years", as well as "My cousin, Buyanov, / In fluff, in a cap with a visor / (As you, of course, know him). The lines from Tatyana's letter become clear: "Imagine: I'm here alone, / No one understands me ...". Her loneliness is the loneliness of a romantic heroine, which is helped to understand by the revived heroes of "The Undergrowth" and the mischievous poem "Dangerous Neighbor" (Buyanov's literary "father" - V. L. Pushkin).
There are other types of characters as well. For example, enter double , whose phantom existence is spawned duality the hero's consciousness (a tradition deeply rooted in mythology and religion): such are the companion of the protagonist in The Tale of Savva Grudtsyn, the shadow in A. Shamisso's The Adventures of Peter Schlemil, the devil of Ivan Karamazov in Dostoevsky, the black monk in Chekhov's story of the same name. No less conditional ancient motif transformation , metamorphoses of the hero (“The Invisible Man” by G. Wells, “The Bedbug” by Mayakovsky, “The Heart of a Dog” by Bulgakov, “A Clockwork Orange” by E. Burgess).
Frame from the film by V. Bortko
Frame from the film by V. Bortko
The variety of types of character comes close to the question of the subject artistic knowledge: non-human characters act as carriers of moral, i.e. human, qualities; Existence collective heroes reveals the interest of writers in the general in different persons, in social psychology. No matter how broadly one interprets the subject of knowledge in fiction, its center is " human beings, those. primarily social.
Character as a character and type. Character types
The generalization that a character contains is called character (from the Greek character - a sign, a distinguishing feature) or type (from the Greek typos - imprint, imprint). Character refers to socially significant features that are manifested with sufficient clarity in the behavior and mentality of people; the highest degree of specificity - type.
Creating a literary hero, the writer usually endows him with one or another character: one-sided or many-sided, integral or contradictory, static or developing, commanding respect or contempt, etc. "I wanted to portray in it this indifference to life and its pleasures, this premature old age of the soul, which became the hallmarks of the youth of the 19th century," Pushkin explained in 1822 the character of the protagonist of the poem " Prisoner of the Caucasus". "We write our novels, although not as rudely as it used to be: a villain is only a villain and Dobrotvorov - dobrotvorov, but still terribly rude, monochromatic," L. Tolstoy reflected in his diary for 1890. "People, after all, everything is for sure the same as me, that is, piebald - bad and good together .... "Pegim" are for Tolstoy and people of past eras, falsely, from his point of view, reflected in literature: as "villains" or "Dobrotvorov". The writer conveys his understanding and assessment of the life characters to the reader, often conjecturing and implementing prototypes(even if it historical figures: cf. the character of Peter in the novels "Peter and Alexei" by D.S. Merezhkovsky and "Peter the Great" by A. N. Tolstoy) and creating fictional personalities.
Character and character are not identical concepts, which was noted by Aristotle: "The actor will have character if ... in speech or action he finds any direction of the will, whatever it may be ...". In literature focused on the embodiment of characters (namely, this is the classic), the latter constitute the main content - the subject of reflection, and often disputes between readers and critics (Bazarov in the assessment of M.A. Antonovich, D.I. Pisarev and N.N. Strakhov ; Katerina Kabanova in the interpretation of N.A. Dobrolyubov, P.I. Melnikov-Pechersky, D.I. Pisarev; Grigory Melekhov). In the same character critics see different tempers.
Thus, the character appears, on the one hand, as a character, on the other hand, as an artistic image that embodies this character with varying degrees of aesthetic perfection.
In the stories of A.P. Chekhov "Death of an official" and "Thick and thin" Chervyakov and "thin" as images are unique; we meet the first in the theater, "at the top of bliss", the second - at the station, "laden" with his luggage; the first is endowed with a surname and position, the second - name and rank; the plots of the works, their denouement are different. But the stories are interchangeable when discussing the topic of veneration in Chekhov, the characters of the characters are so similar: both act stereotypically, not noticing the comic of their voluntary servility, which only harms them. The characters are reduced to a comic discrepancy between behavior characters and ethical standard, unknown to them; as a result, Chervyakov's death causes laughter: it is "the death of an official", a comic hero.
It is easier to count the characters in a work than to determine their characters, although the first procedure is not so simple (after all, among actors can be collective, group, phantom, off-stage, etc.). But the clarification of the characters and the corresponding grouping of persons is already an act not of describing the text, but of its interpretation. In "Thick and Thin" there are four characters, but, obviously, only two characters. "Thin", his wife Louise, "nee Wanzenbach ... Lutheran", and son Nathanael, a high school student (the redundancy of information reported to a former classmate is an additional touch to the portrait funny man) form one close-knit family group: “Subtle shook three fingers, bowed with his whole body and giggled like a Chinese:“ Hee-hee-hee. ”The wife smiled. Nathanael shuffled his foot and dropped his cap. All three were pleasantly stunned.”
The number of characters and characters in the work usually does not match: there are much more characters. There are persons without character, performing a role plot spring - and only: for example, such is the friend of the main character in Karamzin's "Poor Lisa", who informed her mother about the death of her daughter. There are variations of the same character: six princesses Tugoukhovsky in Griboedov's Woe from Wit, Dobchinsky and Bobchinsky in Gogol's The Inspector General, Berkutov and Glafira, who make up a contrasting pair in relation to Kupavina and Lynyaev, in Ostrovsky's comedy Wolves and Sheep.
Concepts character and type of closely related and are often used interchangeably. However, there is still a difference: the significance of artistic generalization is associated with the type, a high measure of universal in character. Addressing the reader, the author of “Dead Souls” encourages him to think: “and which of you, full of Christian humility, quietly, in silence, alone, in moments of solitary conversations with himself, will deepen this heavy request inside his soul:” But no Is there any part of Chichikov in me too?’” (Ch. 11).
Characters, especially in the work of one writer, are often variations, developments of one type. Writers return to the type they have discovered, finding new facets in it, achieving aesthetic impeccability of the image. P.V. Annenkov noted that I.S. Turgenev "for ten years was engaged in the processing of the same type - a noble, but inept person, starting from 1846, when "Three Portraits" were painted, up to "Rudin", which appeared in 1856, where the very image of such a person was found full realization."
Few succeed in discovering a new type, in giving it life in literature. But when it happens given name character becomes a household name. Other expressive nominations also appear: “an extra person” (“Diary of an Extra Person” by Turgenev), “double” (Dostoevsky’s story of the same name), “tyrant” (“A hangover in someone else’s feast” by Ostrovsky; the word was fixed in public consciousness thanks to Dobrolyubov's article " dark kingdom"). The literary type is usually represented by a number of characters, far from being identical in character. So, among the tyrant merchants in Ostrovsky’s plays there is also the “scoldener” Wild, who is organically unable to fairly count workers (“Thunderstorm”), and Tit Titych Bruskov, for whom drunken courage is sweeter than money, he is ready to pay for all his disgrace” (“In someone else's feast hangover", "Hard days"); there is the self-willed and at the same time indifferent to his daughter Bolshov (“We will settle our people!”) - and the child-loving Rusakov, who also decides the fate of his daughter in his own way (“Don’t get into your sleigh”).
A character as a character or type, on the one hand, and as an artistic image, on the other, have different evaluation criteria. Unlike characters and types subject to "court" in the light of certain ethical ideals, characters like images evaluated primarily with aesthetic point of view, i.e., depending on how brightly, fully expressed the creative concept. As images of Chichikov or Yudushka Golovlev are excellent and in this capacity they deliver aesthetic pleasure. A comic character, according to V.I. Kachalov, “should evoke a peculiar feeling of admiration so that one can exclaim: “It’s just lovely, what a disgusting thing!”.
Internal individualization, i.e. characterization, typicality of heroes, Belinsky considered the most important test of talent: “Spinelessness is the general character of the entire large family of persons invented by Marlinsky, both men and women; their writer himself could not distinguish them one from another even by their names, but would guess only by dress."
In literary criticism, there is another way to study the character - exclusively as a participant in the plot, as current faces. In relation to the archaic genres of folklore (in particular, to the Russian fairy tale (considered by V.Ya. Propp in his book "The Morphology of a Fairy Tale", 1928), to the early stages of the development of literature, such an approach is to some extent motivated by the material: there are no characters as such yet or they are less important than the action. Aristotle considered the action (“plot”) to be the main thing in tragedy: “So, the plot is the basis and, as it were, the soul of tragedy, and characters already follow it, for tragedy is an imitation of action, and therefore especially actors ". However, Aristotle's characters are also included in the tragedy, and his student Theophrastus wrote a series of essays "Characters", where he presented 30 comic types.
With the formation of personality, it is the characters and types that become the main subject of artistic knowledge. In programs literary trends(starting from classicism) leading value has a concept of personality, in close connection with its understanding in philosophy, social sciences. Affirmed in aesthetics and view of the plot as the most important way disclosure of character, its test and stimulus for development. "A person's character can be revealed even in the most insignificant deeds; from the point of view of a poetic assessment, the greatest deeds are those that shed the most light on the character of a person" - many writers, critics, and aesthetics could subscribe to these words of Lessing.
The plot functions of the characters - in abstraction from their characters - have become the subject of special analysis in some areas of literary criticism of the 20th century. (Russian formalism: V.Ya. Propp, V.B. Shklovsky; structuralism, especially French: A.–J. Greimas, Cl. Bremont, R. Bart, etc.). In the structuralist theory of plot, this is connected with the task of constructing general models (structures) found in a variety of narrative texts.
Character system
Key words: object world, character, concept, term, character, type, system of characters
Even in works whose main theme is a man alone with wild, virgin nature ("Robinson Crusoe" by D. Defoe, "Walden, or Life in the Forest" by G. Thoreau, "Mowgli" by R. Kipling), the character sphere is not limited to one hero . So, Defoe's novel is densely populated at the beginning and at the end, and different people live in the memories and dreams of Robinson the Hermit: 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." In the main part of the novel, the role of off-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 cumulative human experience, hard work and enterprise of his contemporaries and compatriots, including Defoe himself - "a fountain of energy (as biographers called him).
Like any system, the character sphere of the work is characterized through its constituent elements(characters) and structure -"a relatively stable way (law) of the connection of elements." This or that image receives the status of a character precisely as an element of the system, part of the whole, which is especially clearly seen when comparing the images of animals, plants, and things in various works. In Defoe's novel, goats bred by Robinson, his parrot, dogs and cats, germinated stalks of barley and rice, pottery made by him consistently represent the "fauna", "flora" created before our eyes " material culture". For Defoe, according to one English critic (presumably W. Badget), "a tea rose is nothing more than a tea rose", nature is "only a source of drought and rain" (W. Wolfe). But in the conventional world of other genres, personification natural phenomena and things is common.In "The Tale of the Toad and the Rose" by B.M. Garshina, the rose - "more than a rose", is an allegory of a beautiful, but very short life.
In the works of the life-like style, higher animals are often introduced into the character series, in which, in the stable traditions of animalistics, they emphasize what brings them closer to humans. “Does it matter who we talk about? Everyone who has survived on earth deserves it,” – so begins I.A. Bunin his story "Chang's Dreams", where the two main characters are the captain and his dog Chang. Synecdoche ("everyone who lived on earth") unites the captain and Chang, and throughout the story the psychological parallel is maintained: both are aware of fear and longing, delight and glee. After all, Chang's heart "beat exactly the same as that of the captain ..."
At least two subjects are needed to form a character system; their equivalent can be the bifurcation of the hero (for example, in the miniature of D. Kharms from the cycle "Cases" - Semyon Semenovich with glasses and without glasses). In the early stages of narrative art, the number of characters and the connections between them were determined primarily by logic. plot development."The single hero of a primitive fairy tale once demanded his antithesis, the opposing hero; still later, the idea of the heroine as a pretext for this struggle arose - and the number three for a long time became the sacred number of the narrative composition." Secondary characters are grouped around the main characters, participating in the struggle on one side or the other ( the most important property structures - hierarchy). At the same time, the variety of specific characters in archaic plot genres lends itself to classification. The numerous actors of the Russian fairy tale("There are miracles: a goblin wanders there, / A mermaid sits on the branches ...") V.Ya. Propp reduced it to seven invariants, based on the plot functions they perform (absence, prohibition, violation, etc. - a total of 31 functions, according to the scientist's calculations). This "seven-character" scheme included pest, giver, helper, princess (desired character) and her father, sender, hero, false hero.
In the ancient Greek theater, the number of actors who were simultaneously on the stage increased gradually. The pre-Aeschylean tragedy was a song of the choir, to which Thespis added one actor-reciter, who periodically left the stage and returned with reports of new events. "... Aeschylus was the first to introduce two instead of one; he also reduced the choir parts and put dialogue in the first place, and Sophocles introduced three actors and scenery." Thus, the custom of performing a play by three actors (each could play several roles) was established, which was also observed by the Romans. Aeschylus' innovation created "the premise for depicting a clash between the two sides"; the presence of a third actor included minor persons in the action.
Plot connections between characters can be very complex and branched. Homer's Iliad sings not only the wrath of Achilles ("Anger, goddess, sing of Achilles, son of Peleus..."), but many heroes and their patron gods involved in the Trojan War. According to some estimates, there are about six hundred characters in Tolstoy's War and Peace. The appearance of the next character in most cases is motivated by the plot.
Most often, the plot roles of the characters more or less correspond to their significance as characters. Antigone from the tragedy of the same name by Sophocles the main role prepared by myth. The conflict between her and Creon, reflecting "a different understanding of the essence of the law" (as a traditional religious and moral norm or as the will of the king), its bloody denouement (three deaths: Antigone, Haemon, Eurydice, Creon's later repentance) - such is the mythological basis. Developing, dramatizing this scheme, transforming it into a "woven", with ups and downs and recognitions, tragedy, Sophocles, in the words of Aristotle, "captures the characters ...". Of the ways in which the playwright creates a heroic and tragic halo around Antigone, the arrangement of the characters is paramount. “Antigone appears before us even more heroic and bold,” writes A.A. Takho-Godi, “when you see the quiet, shy Ismene next to her. The passionate, youthful audacity of Haemon emphasizes the firm, conscious decision of Creon. proves the complete inconsistency and senselessness of Creon's act. Sophocles "captures" even the characters of episodic persons, especially the "guard". "... This cunning man cleverly shields himself by betraying Antigone into the hands of Creon."
Usually the main characters of the works, through which the creative concept is revealed, occupy a central position in the plot. The author builds a chain of events, guided by his hierarchy of characters. At the same time, to understand the main character (heroes), they can play big role minor characters, shading the various properties of his character; as a result, a whole system of parallels and oppositions arises.
In Goncharov's novel "Oblomov", the character of the protagonist is explained both by his antipode, the "German" Stolz, and Zakhar (constituting a psychological parallel to his master), but in particular by Olga demanding in her love and undemanding, meek Agafya Matveevna, who created an idyllic for Ilya Ilyich whirlpool. A.V. Druzhinin found the figure of Stolz even superfluous in this series: "Olga's creation is so complete - and the task she performed in the novel is so richly performed that a further explanation of Oblomov's type through other characters becomes a luxury, sometimes unnecessary. One of the representatives of this excessive luxury is us Stolz.
All the characters, one way or another shading the type of Oblomov (Alekseev, Tarantiev, etc.), are introduced into the plot very naturally: Stolz is a childhood friend who introduces Oblomov to Olga; Zakhar spent his whole life with the master; Agafya Matveevna is the mistress of the rented apartment, etc. All of them make up the protagonist's immediate environment and are illuminated by the author's even light of attention.
However, there may be significant disproportions between the place of the hero in the plot of the work and in the hierarchy of characters. AT " Merchant of Venice"Shakespeare's Shylock is much superior - in terms of originality of type, the potential for polysemy of the image - to his debtor Antonio, as well as other persons. In Tolstoy's "War and Peace" Tikhon Shcherbaty is incomparable with Platon Karataev - the symbol of "swarm life", Pierre's mental judge in the epilogue (although in the main plot, both Shcherbaty and Karataev are episodic persons.) In the novel by N.G. Chernyshevsky “What is to be done?” main character, " special person» Rakhmetov, hidden in the depths of the story (an Aesopian technique used by a prisoner of the Alekseevsky ravelin).
The non-participation of a character in the main action is often a sign of his importance as a spokesman for public opinion, an author's reasoner. In realistic works, with their attention to socio-historical circumstances, such persons usually embody these circumstances, helping to understand the motives of the actions of the main characters. In Flaubert's Madame Bovary, the symbol of vulgarity is the pharmacist Homay, a local "enlightener", a correspondent for the newspaper "Rouen Lantern", whose reasoning resembles the "Lexicon of Common Truths" compiled by the writer; the eternal presence of the self-satisfied Ome and the boredom of Emma are closely related. The role of the grotesque Ippolit Ippolitich in Chekhov's story "The Teacher of Literature" is similar, saying in his deathbed delirium that "the Volga flows into the Caspian Sea ...". His maxims exaggerate the banality of the remarks of the Shelestovs and their guests, which Nikitin did not immediately discover. In Ostrovsky's Thunderstorm, the plays by Feklusha and Kuligin, which do not participate in the intrigue, represent two poles of the spiritual life of the city of Kalinov. According to Dobrolyubov, without the so-called "unnecessary" faces in "Thunderstorm" "we cannot understand the faces of the heroine and can easily distort the meaning of the whole play ...". The freedom of a realist playwright in constructing a system of characters is especially evident against the backdrop of the classic rule unity of action.
However, freedom is not arbitrariness. And in the new literature there was a critical filter that revealed "superfluous" characters. “... The play would have won,” Chekhov advises E. P. Goslavsky, “if you eliminated some of the characters altogether, for example, Nadia, who is unknown why she is 18 years old and who knows why she is a poetess. And her fiancé is superfluous. And Sophie is superfluous. The teacher and Kachedykin (professor) from economy could be merged into one person. The closer, the more compact, the more expressive and brighter. "
At the same time, the principle of "economy" in the construction of a system of characters does not interfere with crowd scenes, nor the introduction of episodic and extraneous persons. While working on "Three Sisters", Chekhov sneered at himself: "I am not writing a play, but some kind of confusion. There are many characters - it is possible that I will go astray and quit writing." And at the end of the play, he recalled: “It was terribly difficult to write“ Three Sisters ”. The multi-personality of Chekhov's great plays emphasizes the general, stable conflict situation, "hidden dramas and tragedies in every figure of the play". Naturally, the authors of epics and moralistic panoramas gravitate toward the breadth of coverage of life. In Tolstoy's "War and Peace", according to A. A. Saburov, the character system includes four categories: main, secondary, episodic, introductory persons, while "the significance of the lower categories is incomparably greater than in the novel."
Collective images- a sign of the style of many works of the early Soviet literature("Iron Stream" by A. Serafimovich, "Mystery Buff" by V. Mayakovsky, "Cavalry" by I. Babel, etc.). Often this technique was a tribute to fashion, the execution of the "social order", in connection with the peculiar sacralization of the theme of the people. Extras on the stage are the target of Bulgakov's satire in Crimson Island, where "red natives and natives (positive and countless hordes)" are introduced into the play "Citizen Jules Verne". And in the feuilleton story by I. Ilf and Evg. Petrov's "How Robinson was Created" the editor advises the artisan novelist writing about the "Soviet Robinson" to show "broad strata of working people". In the parodies of the satirists, thanks to comic hyperbole, the symbolism of the reception is emphasized.
Unlike opportunistic handicrafts, the "language" of the genre canons of the literature of the past evokes the joy of recognition, meeting with the childhood of culture. This "language" includes a stable ensemble of characters bearing traditional (often "speaking") names. Exploring Character Systems in Aspect historical poetics, their iconic character, very bright in some genres ( commedia dell'arte, mystery, morality, chivalric, pastoral, gothic novels etc.), and prepares for a deeper perception modern literature, subtly and widely using the wealth accumulated by culture.
The state of consciousness or experience presented in a lyric poem, as noted long ago, is not a reproduction of empiricism. mental life: "There are two people in the poet - he himself and his muse, that is, his transformed personality, and between these two creatures there is often a hard struggle."
The discrepancy between the biographical author and the structure of consciousness, the system of values expressed in his lyrics, was the focus of attention of literary critics in the 1950s - 1960s, when the concept of lyrical hero. With its help, it was emphasized that the author’s experiences are objectified, cleared of everything random, as if filtered: “Despite the fact that in its main essence (and often even in many details) it [the lyrical hero – I.I.] the imprint of the poet's personality, his unique fate, his worldview - the character of the lyrical hero, his biography may not coincide with the character and biography of the poet," wrote A.A. Mikhailov. At the same time, the researcher admits the existence of poems without a lyrical hero at all, where the author speaks on his own behalf: “When Mayakovsky declared:“ I myself will tell about time and about myself, ”it meant that the poet did not dissolve himself in some kind of objectified lyrical hero, but in his own flesh appeared before the readers and spoke. He spoke on his own behalf about his main vocation in life - about poetry, about "the poet's place in the working order", argued furiously with his opponents, spoke cordially and confidentially with Pushkin ... ".
The poet "in his own flesh appeared before the readers ..."? Apparently, such statements are a step backwards in comparison with Strakhov. Let us recall the words of Mayakovsky himself: “I am a poet. This is what is interesting. I am writing about this. Whether I love, or I am reckless, about the beauties of the Caucasian nature as well - only if it is defended with a word. A broad, yet inconsistent, interpretation of the term lyrical hero at A.A. Mikhailova, N.S. Stepanov prompted V.D. Skvoznikov to reject it as a "scholastic ballast".
However, there is another, narrower understanding of the term lyrical hero. It was first formulated in the article by Yu.N. Tynyanov "Block" (1921). Block is the largest lyrical theme Blok. This theme attracts as the theme of the novel is still a new, unborn (or unconscious) formation. About it lyrical hero and say now. He was necessary, he was already surrounded by legend, and not only now - it surrounded him from the very beginning, it even seemed that it preceded Blok's poetry itself, that his poetry only developed and supplemented the postulated image. All Blok's art is personified in this image; when they talk about his poetry, almost always they unwittingly substitute for poetry human face - and everyone loved face, but not art". (Author's italics - I.I.) Simultaneously with Tynyanov, a similar concept, also in relation to Blok's lyrics, was put forward by B.M. Eikhenbaum, V.M. Zhirmunsky, A. Bely.
Subsequently, this concept, based on Yu.N. Tynyanov was substantiated by L.Ya. Ginzburg: this is “the unity of the personality, not only behind the text, but also endowed with a plot characteristic, which nevertheless should not be identified with character", is "not only the subject, but also the object of the work." In order to talk about the lyrical hero as a single personality represented in creativity, it is necessary, according to Ginzburg, to explore the body of poems. Not all poets have a lyrical hero: it is difficult to find him in Pushkin's work, but Lermontov undoubtedly has one.
This thesis is difficult to dispute if we analyze the work of a particular poet as a whole, but if we single out poems united by a common theme, problem, mood into a separate group, then a lyrical hero can be found. For example, in literary criticism it has long been commonplace the position that Fet does not have a lyrical hero (the work of this poet is a kind of exemplary example). However, if we analyze the poems on women's theme(not necessarily it will be love lyrics), then you can see that poems with idyllic (mostly 50s) and tragic ( later work) tonality. The idyllic beginning appears in poems where the hero is fascinated by his beloved, enjoys his happiness, while the heroine can exist only in his dreams. Even love suffering is perceived by the lyrical hero as bliss. The tragic beginning is due to the loneliness of the lyrical hero, in many poems there is a hint or direct indication of the death of the heroine (“You suffered, I still suffer ...”). The kinship of souls only increases the suffering of the hero ("Alterego"). In some poems, the lyrical hero realizes his guilt in what happened (“For a long time I dreamed of the cries of your sobs ...”). Memories of a loved one can also become a source of tragedy (“When my dreams are beyond the past days ...”). In the 20th century, poets sought to combine their poems into cycles, therefore, it is advisable to consider the lyrical hero in each individual cycle. In some cases, it makes sense to talk about the evolution of the lyrical hero. For example, the lyrical hero of the first collection of A. Bely "Gold in Azure" is characterized by the desire to break out of the ordinary to the mystical ideal. However, the lyrical hero is contradictory: this is not only a soothsayer, but also a holy fool who finds himself in a "straight house". In the Ashes collection, attention switches to the earthly, peasant (it is no coincidence that the collection is dedicated to the memory of Nekrasov). The lyrical hero is a vagabond, hangman, "unfortunate man". However, there is a duality in this book: the lyrical hero seeks to overcome the feeling of despair, the theme of "resurrection from the dead" is a cross-cutting one in this collection. Then the hero “collects” the “ashes” of his deep sufferings into the “Urn” (this is the name of another collection of his poems), where life, on the one hand, is depicted as completely meaningless, and on the other hand, striving for a mystical ideal. Thus, the moods of the first and second collections seem to be combined here, and the lyrical hero is undergoing a kind of evolution.
With a narrow understanding of the lyrical hero, there is a need for a term denoting any bearer of expressed experience, and this term becomes lyrical subject.
Lyrical hero at the same time it is “both the carrier of consciousness and the subject of the image, it openly stands between the reader and the depicted world; The reader's attention is mainly focused on what the lyrical hero is like, what happens to him, what is his attitude to the world, his state, etc. lost…”, “I will die soon. A miserable inheritance…”, “I deeply despise myself for that…”, “Where is your swarthy face…”, “ Tough year- I was broken by an illness ... ”, etc. In these poems, the biography and conditions for the existence of a commoner are recreated,“ with a life situation, environment and details of life. Therefore, the motives of hunger, loneliness, poverty, and illness had not only a direct, everyday, but also a figurative, metaphorical meaning: this was how “consciousness of social unhappiness, dissatisfaction with the world and one’s fate, a sense of one’s disorder, not everyday, but social” was expressed. These statements are proved by a detailed analysis of love lyrics, poems about poetry, "repentant" poems.
As a rule, in poems with a lyrical hero there is a pronoun "I", verbal forms of the first person or other grammatical indicators that the lyrical subject is at the same time the object of his thoughts. As, for example, in Nekrasov’s poem “If, tormented by a rebellious passion ...”, where there is no personal pronoun I, but the hero reflects, as evidenced by the nominations:
If a, tormented by rebellious passion,
forgot your jealous friend…
The nominations reveal the feelings of the lyrical hero. He is overwhelmed rebellious passion. Love is usually called passion, and jealousy is often its consequence, especially if a person is prone to it ( your jealous friend. The love of such a person does not bring him anything but confusion of feelings. Replacing “I” with “your jealous friend” indicates that the hero is able to look at himself from the side, emphasizes the leading role of the heroine in their relationship, his ability to evaluate himself in terms of another(another). He realizes that it is very difficult to build relationships with him, it is no coincidence that he calls himself crazy but loving. The union “but” is very important here: despite all his follies, the hero is still able to love, only his love is not a harmonious feeling, but an endless boiling of passions, bringing misfortune not only to him, but also to his beloved. His jealousy can awaken in meek and gentle the soul of the heroine "an evil feeling."
However, there are more difficult cases. For example, in Nekrasov's poem "Troika", of course, the main attention is paid to the heroine, her portrait is described, her story is told. future fate. It is important that the poem is built as an appeal to a peasant girl, basically she is called the pronoun of the second person you. The choice of the 2nd person is significant: one could say she is, which would emphasize the detachment of the lyrical hero, while the second person implies a dialogue. Before us is a statement of a lyrical hero who takes the fate of a girl to heart. The poem also describes the cornet and future husband girls. The cornet is mentioned briefly, it will not play a significant role in the fate of the heroine (it rushes in a whirlwind to the “other”). But the future husband of the heroine is described in detail: slut man, picky husband who will beat his wife. Her mother-in-law will also tyrannize her. The heroine will gradually sink to his level: over time, “tying an apron under her arms,” she will draw “ugly breasts”; will "baby, work and eat" (and her life could be "full and easy").
role hero
Key words: object world, image, hero, lyrics, characters
role hero- carrier someone else's consciousness. The author's point of view is also expressed in the poem, but indirectly: in fact, "role" poems two-subject. One, higher consciousness, is found primarily in the titles; they define the hero of the poem (“Mower”, “Plowman”, “Darelet” Koltsov, “Katerina”, “Kalistrat” Nekrasova) and sometimes - directly or in an ironic form - an attitude towards him is expressed (“Predators on Chegem” A.S. Griboedova, “ moral man" ON THE. Nekrasov). The sphere of another consciousness is the main part of the poem, which belongs to the hero himself. Role-playing poems are usually titled, and often this is his nominations(not only anthroponyms: Katherine, Kalistrat, but also any: mower, predators on Chegem and etc.).
Note that in role-playing lyrics, the author's point of view can be expressed in speech, formally owned by the hero(compare with improperly direct speech in the epic). This occurs especially often if these two value systems turn out to be incompatible, mutually exclusive. In this case, we can talk about the elements of "two-voice" in the lyrics, which brings it closer to the epic and drama. For example, in Nekrasov's poem "A Moral Man", the author's point of view is expressed with the help of irony as a stylistic device. As a result, the refrain
Living according to strong morals,
I have done no harm to anyone in my life
can be read in two ways: as the word of the hero and as the author's irony.
The great merit of B.O. Corman was the demarcation bearer of consciousness and native speaker, since the texts often do not indicate the boundaries between the expressed points of view. So, in role-playing lyrics there are two carriers of consciousness, but the main carrier of speech is one: this is a role-playing hero (for example, in the poem "Calistratus" the author is present only in the title). Speaking about two-subject poems, in which two points of view, two views of the world are presented, the researcher limits the monologism of the lyrics. Korman also singles out poems where formally the speaker is the author himself or the author-narrator, but text analysis reveals polyphony: "Funeral", "In full swing, the suffering of the village ...".
Character(from French character - personality, person) - the protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or someone from literary heroes. Characters are main and secondary. In some works, the focus is on one character (for example, in Lermontov's "A Hero of Our Time"), in others, the writer's attention is drawn to a number of characters ("War and Peace" by L. Tolstoy).
Character(from Greek character - trait, feature) - the image of a person in literary work, which combines the general, repetitive and individual, unique. Through the character reveals the author's view of the world and man. The principles and techniques of creating a character differ depending on the tragic, satirical and other ways of depicting life, on the literary type of the work and genre.
should be distinguished literary character from character in life. Creating a character, the writer can also reflect the features of the real, historical man. But he inevitably uses fiction, "thinks" the prototype, even if his hero is a historical figure.
"Character" and "character" are not identical concepts. Literature is focused on the creation of characters that often cause controversy, are perceived by critics and readers ambiguously. Therefore, in the same character you can see different characters (the image of Bazarov from Turgenev's novel "Fathers and Sons"). In addition, in the system of images of a literary work, as a rule, there are much more characters than characters. Not every character is a character, some characters perform only a plot role. As a rule, secondary heroes of the work are not characters.
Type of- a generalized artistic image, the most possible, characteristic of a certain public environment. A type is a character that contains a social generalization. For example, the type of "superfluous person" in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction with real life, the desire for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. Each time gives birth to its own types of heroes. The “extra person” was replaced by the type of “new people”. This, for example, is the nihilist Bazarov.
Lyrical hero - the image of the poet, the lyrical "I". The inner world of the lyrical hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. lyric poem- a concrete and single manifestation of the character of the lyrical hero. With the greatest completeness, the image of the lyrical hero is revealed in all the work of the poet. So, in some lyrical works Pushkin (“In the depths of the Siberian ores ...”, “Anchar”, “Prophet”, “Desire of glory”, “I love you ...” and others), various states of the lyrical hero are expressed, but taken together, they give us quite a holistic view of it.
The image of the lyrical hero should not be identified with the personality of the poet, just as the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the author himself. The image of the lyrical hero is created by the poet in the same way as the artistic image in the works of other genres, with the help of the selection of life material, typification, and fiction.
Image system- a set of artistic images of a literary work. The system of images includes not only images of characters, but also images-details, images-symbols, etc.
When creating images, the following artistic means are used:
1. speech characteristic hero, which includes a monologue and dialogue. A monologue is a character's speech addressed to another character or to the reader without counting on an answer. Monologues are especially characteristic of dramatic works(one of the most famous is Chatsky's monologue from Griboyedov's "Woe from Wit"). Dialogue is a verbal communication between the characters, which, in turn, serves as a way to characterize the character and motivates the development of the plot.
In some works, the character himself tells about himself in the form of an oral story, notes, diaries, letters. This technique, for example, is used in Tolstoy's story "After the Ball".
2. Mutual characteristics, when one character talks about another (mutual characteristics of officials in Gogol's "Inspector").
3. Author's characteristic, when the author talks about his hero. So, while reading "War and Peace", we always feel the author's attitude to people and events. It is revealed both in the portraits of the actors, and in direct assessments-characteristics, and in the author's intonation.
Portrait- the image in a literary work of the appearance of the hero: facial features, figures, clothes, postures, facial expressions, gestures, demeanor. In literature, there is often a psychological portrait in which, through the appearance of the hero, the writer seeks to reveal his inner world (portrait of Pechorin in Lermontov's "A Hero of Our Time").
Landscape- depiction of pictures of nature in a literary work. The landscape also often served as a means of characterizing the hero and his mood at a certain moment (for example, the landscape in the perception of Grinev in Pushkin's The Captain's Daughter before visiting the robber "military council" is fundamentally different from the landscape after this visit, when it became clear that the Pugachevites would not execute Grinev ).
!Some characters combine several types of character at once.
The type of character is not always immediately clear.
Contrary to popular belief, the classification of character types does not apply only to female characters. Yes, there are MOEs for boys too!
Main character types:
1. Tsundere (ツンデレ). The word comes from tsuntsun (ツンツン), which means disgust, and deredere (デレデレ), which means falling in love. One of the most beloved otaku type of characters, often moei (more on that below). These characters are often harmful and narcissistic at first, sometimes even unpleasant personalities (more than half of the girls with rich parents, for example), but in the process of plot development it always turns out that a lot is hidden under harmfulness. good qualities. Most often they appear when the character is in love. At the same time, the very object of their love is rejected by them, but in the end they have to admit their feelings.
There are also several subspecies of the tsundere:
Tsunaho (ツンアホ), alternatively called tsunbaka (ツンばか) or more neutrally tsundoji (ツンドジ)
These characters really want to appear bad, but because of clumsiness, and often narrow-mindedness, they always confuse everything, drop things, fall themselves and generally behave comically.
Tsuntere (ツン照れ) is a more open (and moe-like) tsundere. "Tereru", tereru (照れる) means "shy". That is, a tsundere who tries to appear cold and unapproachable, but due to his own shyness (and moe) sometimes gives out real feelings. Thus, it becomes clear that the character is actually a deredere.
Tsundora (ツンドラ) literally means "tundra". This is the most reserved and gloomy type.
character, ice. It is very difficult to force such a character to show his "deredere-I".
Tsungire (ツン切れ) is the most dangerous type of tsundere, named after "kireru" (kireru, 切れる) - short circuit. If you make this character angry, then ... better not. At first glance, it is sometimes difficult to distinguish a tsungire from a yandere, but a flash of rage and madness are still different things.
2. Kuudere (くーデレ), comes from English cool and Japanese deredere, a word called cold-blooded and indifferent characters. Often they sit somewhere far away from the rest with a book and do not communicate with anyone. Often they can be distinguished by blue hair, but not always. So, the couderes are silent, but only because they do not want to talk to anyone, because of their arrogance.
3. Dandere (ダンデレ) - abbreviated danmari deredere (だんまりデレデレ), which means "shy/th deredere". Danmari (だんまり) means "silence", but the dandere is silent not because he (or she) wants to, but because he is terribly shy. These are real sociophobes, closed and distrustful. Most often, the "deredere-ya" is revealed upon contact with the object of love.
4. Yandere (ヤンデレ) - short for yanderu deredere (病んでるデレデレ), "yandere" (病んでる) means "sick". In short, this is a crazy "deredere". Yandere characters are as popular with otaku as tsundere.
Yandere are attached to the object of their love very strongly, to the point of idolatry. These are typical fans (and fangirls). In their normal state, yanderes are indistinguishable from derederes, but when they fall in love, they turn into psychos, and you should not get in their way at this moment, because they often pick up sharp objects.
5. Yangire (ヤン切れ) - A subspecies of the yandere, they are both insane and short-tempered. Such a character, in order to become a maniac, usually does not need a special reason in the form of love. Often they have some dark, unpleasant secret from the past hiding in their closet.
6. Genki (元気) - optimistic, always happy and hyperactive
characters. Such a character is the "soul" of the company.
There are two types of genks - smart and not so smart. Smart genks think as fast as they act. Characters of the second type are also energetic, but at the same time they often do comical follies.
Oh yes, MOE!
The word "moe" (萌え) means "sprout", meaning a fragile girl who needs (and wants to!) take care of.
The word in culture means a fetish of appearance/behavior. All the character stereotypes described above also refer to the concept of "moe". For a long time it was believed (and is still often considered) that only girls can be moei. But! Moe can be a guy, although much less often. Isn't Italy-kun from Hetalia an example of this?
Moekko (萌え娘) is a girl with moei features. Moekko are again of several types.
Meganekko (メガネっ娘) is a girl with glasses.
Bokukko (ぼく娘) is an energetic tomboy.
Pettanko (ぺったんこ) is a child girl with a flat chest, which she usually suffers a lot from. Well, or not suffer.
Bakunyu (爆乳) - a girl with large breasts, the object of pettanko envy.
Dojikko (ドジ娘) is a clumsy girl.
In today's article, I want to turn to an interesting classification of the main characters proposed by Alexander Mitta in the book " Cinema between hell and heaven". Why, you ask, bother yourself with some classifications? After all, usually a simple positive guy is appointed as the main character, and everyone seems to be happy with this, no one objects ... However, if you look more broadly, then there are indecently many such simple guys from the people, and if the same type of main character acts in each of your works, readers it gets boring quickly. And therefore it will be useful to find out what other types of main characters exist.
Before we proceed directly to the classification, I will mention that usually in any work, the personality of the protagonist is one of the weakest points. The so-called reigns among novice authors - the main characters embody ideal characters (smart, beautiful, strong and resourceful) and do not have any significant negative traits. You understand: follow the adventures of such perfect person- it’s, let’s say, an amateur thing, and in real life you won’t meet such unique people.
Veteran writers have a different kind of problem: often their main character is an order of magnitude less interesting than some supporting character. This happens, among other things, due to the fact that often the burden of moralizing falls on the main character - it is he who becomes the embodiment of goodness and justice, while secondary characters are free to behave as they wish. And of course, against the backdrop of wayward and sharp-tongued companions, our correct protagonist looks sluggish.
The solution of the first of the indicated problems, it seems to me, is not very difficult - it is enough just to dilute positive traits of the hero by a certain number of negative ones, but the problem of the second kind is rather complicated, and, as I have already noted, even experienced writers often cannot cope with it. But as I see it, the key to its solution lies in the diligent development of the character, in deepening the psychologism of the character. If the role is not initially charismatic, it can be strengthened only due to the depth of study. Perhaps our classification will help in some way here.
Types of heroes according to A. Mitte.
Our acquaintances.
This is exactly the type that now dominates the expanses of literature. This is the same guy from the people or a simple romantic girl who, by the will of fate, find themselves embroiled in some kind of trouble or love story. Home hallmark this class is that he practically does not transform throughout the plot - that is, in the finale of the epic, Ivan Ivanovich remains a simple locksmith, despite the fact that he saved the world twice and won the heart of a beauty. And it's in in a certain sense contradicts logic (well, how can a person who has endured such trials not change?!), but the main thing here is different - the maximum experience of the viewer, identification with the main character.
Working with such a character is quite simple - you can calmly imagine yourself in his place and go through the storyline with a cheerful step to the very end. To such a hero, as a rule, the reader is more quickly imbued with confidence - he, like us, recognizes himself in him. In such circumstances, it becomes easier to achieve empathy and suspense. And this is quite a significant plus, especially if the story itself contributes to this - its plot is famously twisted, and our poor fellow faces one mortal danger after another.
However Our Friend it is quite difficult to fill it with life, to arouse the reader's interest in him precisely as a person.
Underdogs.
This word abroad characterizes people who have made their way up from the very bottom of society. These heroes start out as absolutely nobody, but in the course of the story, overcoming many obstacles, they achieve success on their own. It is their inner passion, the desire to achieve results and get out of the mud in which they were born, that distinguishes underdogs from other types. These are strong and courageous individuals who want to empathize. They initially found themselves under the yoke of circumstances, and their very life is a conflict between a person and a cruel world.
To work with such a character, you need to make some efforts, to be able to cast a reliable alloy of a cynic and an idealist.
Lost souls.
These are people who have crossed the line of what is permitted, who have found themselves on the other side of morality and law. People lost to a normal society. A striking example this type is Rodion Raskolnikov from Dostoevsky's novel Crime and Punishment.
Personally, I conditionally divide this group into two subtypes. I refer to the first Our Friends who have committed any misconduct or crime and thereby ruined their lives. To the second - notorious villains and criminals who put their own benefit at the forefront. Both those and others with equal success can be the main characters, however, they require different approach. The first subtype usually has a huge internal conflict - a person has broken the law, violated moral standards, and this cannot but affect his internal state. He is forced to fight not only with external factors, but also with himself. Notorious villains, as a rule, are not tormented by remorse, but even they can be sympathetic to readers if they stand in the way of more powerful and immoral forces.
Working with heroes of this type is extremely difficult: it is a tightrope walk over an abyss. It is necessary to accurately portray the character, but not scare the reader; be able to reveal the inner conflict of a person who has made a big mistake.
Idols.
The best representatives of humanity, endowed with wealth and fame, outstanding intelligence and beauty. And also often some kind of superpowers. These are all kinds of supermen and superheroes, agents 007 and other brilliant detectives. Interest in them on the part of the reader is explained by a simple desire to join the accomplishments of a great man, a real hero from top to toe.
Here, in my opinion, there are two subtle nuances that cannot be ignored.
First, the idol must have at least one clearly marked negative trait. A hero cannot be perfect in everything. For example, he may be a drunkard, a drug addict, have a hypertrophied craving for married women, can be an anti-social nihilist, an egoist and a cynic, and just a person with a shattered psyche. Lots of options! This will bring the image of the hero closer to reality and erase the barrier between him and the reader. Realizing that our superman is far from perfect, it will be easier for the reader to feel sympathy for him and even feel superior to him in some way.
The second point: the supervillain must confront the superhero. Or evil on a planetary scale. Otherwise, it's just not interesting.
Working with idols is quite difficult: not every reader accepts this kind of character, and those who accept, still need to be able to please. And to reveal the psychological depth of an almost ideal hero is the task the highest degree difficulties.
On this, perhaps, and all. You got to know the main types of main characters, figured out the advantages and difficulties of each of them, and now you can more variably approach the issue of choosing the main characters. I hope this information was useful to you. Subscribe to the blog "Literary Workshop". See you soon!
