By what means was the portrait created? Gerasim: characteristics of the hero

The problem of creating a character's image has been and remains one of the main ones in literary creativity. The character portrait is one of the main means of creating an image and can be considered as one of the aspects of this problem. However, a verbal artistic portrait is a rather complex phenomenon that does not have an unambiguous interpretation. Therefore, one of the main tasks of researchers is to study the system of stylistic techniques and means of expression that are used to more accurately express the content of a work of art, and the creation of a portrait, in particular. A literary character is a generalization and at the same time a specific personality. He moves freely in the world of a work of art and organically enters it. Therefore, creating an image of a character means not only “endowing him with character traits and communicating to him a certain structure of thoughts and feelings, but also “making us see him, hear him, become interested in his fate and the environment around him.”

A character's portrait is a description of his appearance: face, figure, clothes. The image of his behavior, demeanor, facial expressions, gait, and gestures is closely connected with him.

But there may be no portrait description of the character, and then, as researcher L.A. points out. Yurkin, the reader gets an idea of ​​the character from the description of his thoughts, feelings, actions, and speech characteristics. But in those works where a portrait is present, it can become one of the main ways of creating a literary image.

A person's appearance can say a lot about him - about his age, nationality, social status, tastes, habits, character traits. L.A. Yurkin believes that in the portrait of a character there are three main features: the first are natural, the second characterize him as a social phenomenon (clothing and the way to wear it, manner of behavior, etc.), and the third is a facial expression that testifies to the experiences feelings. “But a face, a figure, gestures can not only “speak”, but also “hide”, or simply not mean anything other than themselves. Therefore, an artistic portrait is often almost impossible to read.”

He also notes that when there is correspondence in life between the external and internal, it allows the writer to use the character’s appearance when creating him as a generalized image. A character can become the embodiment of one particular property of human nature, which dominates as a property of his behavior and requires a certain external expression for him.

The portrait of a character in modern literary criticism is understood in a narrow and broad sense.

A verbal portrait in the narrow sense is a continuous descriptive chain of one sentence or more. A verbal portrait in a broad sense is the entire set of these descriptive chains related to the description of a character.

In this regard, a compact and dispersed verbal artistic portrait is distinguished.

A compact verbal portrait is a single portrait description: having once described the appearance of his character, the writer may not refer to it for some time.

Dispersed portrait description is a repeated periodic reference to the appearance of a character during the narrative

A verbal artistic portrait is multifunctional. Within the framework of a work of art, it can perform a variety of functions, in accordance with the functional content of the artistic text in general. The social, philosophical, moral, religious and other orientation of the text is reflected in the verbal portrait as an important compositional element of the work of art.

Using an artistic portrait as a means of creating an artistic image, each writer pursues his own specific goal, which means that in the text of a work of art, each specific portrait description of a character will have its own function. Thus, the characterological and evaluative functions lead readers to an understanding of the character’s character and contribute to the disclosure of the ideological and artistic content of the work.

The aesthetic function expresses the connection between content and form, without which an artistic image cannot be created. The systematizing property of the aesthetic function is that all other functions pass through it, that is, in its pure form the aesthetic function simply does not exist.

Thus, the external description of a character is not a convention for creating an artistic image, but a very important way of revealing its psychological means, and therefore a more in-depth understanding of the intent of the entire artistic text.

Select from the presented works only those five that fit the genre definition of “poem”. Write down their numbers, indicate the authors.

1. "Boris Godunov"
2. "House in Kolomna"
3. "Romeo and Juliet"
4. "Volga and Mikula Selyaninovich"
5. "The Snow Queen"
6. "Vasily Terkin"
7. "Svetlana"
8. “Song... about the merchant Kalashnikov”
9. "May Night, or the Drowned Woman"
10. "Lefty"
11. "Glove"
12. "Bronze Horseman"
13. "Mozart and Salieri"
14. "French lessons"
15. "Jack Frost"

Answer

Poems : № 2, 6, 8, 12, 15.

• “House in Kolomna” (A.S. Pushkin)
• “Vasily Terkin” (A.T. Tvardovsky)
• “The Bronze Horseman” (A.S. Pushkin)
• “Song... about the merchant Kalashnikov” (M.Yu. Lermontov)
• “Frost, Red Nose” (N.A. Nekrasov)

Evaluation criteria

For correctly identified numbers - by 0.5 points(Total 2.5 points).

If the work is not classified or incorrectly classified as a poem, but the author is indicated correctly - 0.5 points for the position.

Other works:

• “Boris Godunov” (A.S. Pushkin)
• "Romeo and Juliet" (W. Shakespeare)
• “Volga and Mikula Selyaninovich” (folk epic)
• "The Snow Queen" (H.H. Andersen)
• “Svetlana” (V.A. Zhukovsky)
• “Mozart and Salieri” (A.S. Pushkin)
• “May Night, or the Drowned Woman” (N.V. Gogol)
• “Lefty” (N.S. Leskov)
• “The Glove” (F. Schiller, translation by V.A. Zhukovsky/M.Yu. Lermontov)
• “French Lessons” (V.G. Rasputin)

Task 2. “CREATIVE TASK”

Before you is a fragment of a work of art containing a description of a certain place. Imagine the people inhabiting the hut. Write an essay about the inhabitants of this place. Rely on the artistic details in the given fragment. Give the characters names, describe their appearance and character. Write competently, coherently, freely. Recommended length: 150–200 words. It is not necessary to imitate the author's style.

Finally, I got across this swamp, climbed a small hillock and now could get a good look at the hut. It wasn’t even a hut, but a fairy-tale hut on chicken legs. It did not touch the ground with its floor, but was built on stilts, probably due to the flood that floods the entire Irinovsky forest in the spring. But one side of it had sagged over time, and this gave the hut a lame and sad look. Several panes of glass were missing from the windows; they were replaced by some dirty rags, sticking out like a hump. I pressed the pin and opened the door. It was very dark in the hut, and after I had looked at the snow for a long time, purple circles appeared before my eyes; Therefore, for a long time I could not make out whether there was anyone in the hut.

(A.I. Kuprin. “Olesya”)

From schoolchildren not required recognize these fragments and restore the names of the heroes. It is important that they can describe possible characters who may inhabit this space, and create an image of a person through interior or landscape details.

Task 3. “WORKING WITH TEXT”

Read it. Write an essay about this story, answering the questions posed. Write in a coherent text, freely, clearly, convincingly and competently. Recommended length: 250–300 words.

Vladimir Osipovich Bogomolov (1924–2003)

PEOPLE AROUND

She is dozing on the train, lying on a bench with her hand under her head. Poorly dressed, in a red, short coat and warm, out-of-season cats; on his head is a gray frayed scarf. Suddenly he picks up: “Isn’t this Ramen yet?” - sits down and, seeing that it is raining outside the window, exclaims sadly and with angry concern:

- What an enemy!.. Well, it’s necessary!

– Mushroom rain – how did it bother you?

She looks in bewilderment and, realizing that these are townspeople in front of her, explains:

“It’s no longer needed for bread.” Not necessary at all. – And with soft reproach, cheerfully:

- Tea, we feed on bread, not mushrooms!..

Short, tanned, wrinkled. Old, old - about eighty years old, but still quite alive. And the hands are calloused and strong. Two yellow teeth, thin and long, stick out in the front of the mouth.

He straightens his scarf and, smiling friendly, willingly talks and talks about himself.

She is from near Irkutsk. The son died, the daughter died, and there were no relatives.

I went to Moscow for a “pension”, and, as it turns out, both there and back – without a ticket.

And no luggage, not even a tiny bundle...

- How can that be, without a ticket? And they didn’t put you down?.. - they are surprised around. – What about control?.. Was there control?

- Came twice. What about control?.. – she smiles weakly. – Control is also people. There are people all around!..,” she says with conviction and joy and, as if making excuses, adds: “I’m not like that, I’m on business...”

This is her “There are people all around!” there is so much faith in a person and optimism that everyone somehow feels better, brighter...

To travel half of Russia, more than five thousand kilometers, without a ticket and without money, and to return in exactly the same way is incomprehensible to the mind. But they believe her.

There is something very good, sincere, wise in her; her face, eyes and smile glow with friendliness, and are so sincere - all outward - you simply cannot help but believe her.

One of the passengers treated her to a pie, she took it, thanked him with dignity, and eagerly sucked and squeezed, lightly squeezed with her two teeth.

Meanwhile, outside the window, after the rain, the sun peeked through and sparkled dazzlingly with millions of dewdrops on the grass, on the leaves and on the roofs.

And, leaving the pie, she, joyful, radiant, squinting her faded old eyes, looks out the window as if spellbound and says enthusiastically:

- Fathers, what a beauty!.. No, look...

1. By what means was the portrait of the heroine created?
2. What can you say about the heroine’s inner world? What words is it reflected in?
3. What is the author's attitude towards the heroine?
4. Can you explain the title of the story?

Evaluation criteria	Points
The presence/absence of direct, coherent answers to questions and the presence/absence of errors in understanding the text. Rating scale: 0 – 5 – 10 – 15	15
General logic of the text and consistency of evidence. Rating scale: 0 – 3 – 7 – 10	10
Referring to the text for evidence. Rating scale: 0 – 2 – 3 – 5	5
Presence/absence of stylistic, speech and grammatical errors. Rating scale: 0 – 2 – 3 – 5	5
Presence/absence of spelling and punctuation errors (within the limits of the material studied in the Russian language). Rating scale: 0 – 2 – 3 – 5	5
Maximum score	40

For ease of assessment, we suggest focusing on the school four-point system. Thus, when assessing the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “B minus”).

The maximum score for all completed tasks is 70.

Municipal budgetary educational institution

Secondary school No. 21

"Portrait of a hero as a means of artistic characterization"

MBOU secondary school No. 21

Scientific supervisor: Kurlenko G.P.,

teacher of Russian language

and literature MBOU secondary school No. 21

Kovrov, 2012

Purpose of the abstract:

Explore portraits as a means of artistic characterization.

Research objectives:

1.Get acquainted with the history of the appearance of the portrait.

2.Consider portraits of heroes in different areas of literature.

Consider examples of portraits from various authors.

Introduction

Over the long history of its existence, literature has accumulated a rich arsenal of various techniques with the help of which an artistic image is created. One of the most important means of characterizing a hero is his portrait. Portrait in literature is one of the means of artistic characterization, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the appearance of the heroes: their figure, face, clothing, movements, gestures and manners. Given how much physical description can reveal, writers often use it to describe a character. For example, such a description was well accomplished by A.S. Pushkin: “His appearance seemed remarkable to me: he was about forty, of average height, thin and broad-shouldered. There was gray in his black beard; his lively, large eyes were darting. His face had a rather pleasant, but roguish expression. His hair was cut in a circle ; he was wearing a tattered overcoat and Tatar trousers." A skillfully done description makes the character’s appearance almost “alive”, visible. The external appearance creates the first impression of the character and becomes a step on the path to understanding the inner world of a person: “one sideways left-hander, a birthmark on the cheek, and hair on the temples torn out during training”

In fiction as a verbal art, a portrait is only one of the means of characterization, used in compositional unity with other similar means: the unfolding of action in the plot, the description of the thoughts and moods of the characters, the dialogue of the characters, the description of the situation, etc. An example is cite a portrait from the work “Asya” by Turgenev: “My gaze fell on a handsome young man in a cap and wide jacket; He was holding a short girl by the arm, wearing a straw hat that covered the entire upper part of her face.” A unique system of such means of characterization is what creates an artistic image in literature, and the portrait thereby turns out to be one of the sides of the artistic image.

Among all other methods of depiction, the portrait is distinguished by its special visual clarity and, together with the landscape and everyday descriptions, gives the work a special power of representation. Here, for example, is a very unusual portrait by N.V. Gogol: “He was beautiful even in death: his courageous face, recently filled with strength and a charm invincible for wives, still expressed wonderful beauty; black eyebrows, like mourning velvet, set off his pale features.”

Being one of the aspects of an artistic image, a portrait includes those main points that are essential for the image as a whole. In the portrait of a hero, as in his entire image, there are both general, typical features and individual ones. On the one hand, the literary hero is portrayed in most cases as a social and historical person, a representative of a certain social era, a certain class and class group; his appearance, movements, and manners usually characterize the social environment that the writer generalizes and ideologically evaluates in his work. On the other hand, the literary hero is, as a social and historical person, different from other members of his environment; by choosing and combining individual traits in his portrait, the writer also expresses his ideological attitude to the social group of which the hero is a representative:

Always modest, always obedient,

Always cheerful like the morning,

How a poet's life is simple-minded,

How sweet is love's kiss;

Eyes like the sky are blue,

Smile, flaxen curls,

Everything in Olga... but any romance

Take it and find it right

Her portrait...

The culture of portraiture developed gradually and had a direct connection with the author’s immediate assessments. The first literary portraits were published in magazines. The “pioneer” in Western Europe was C. Sainte-Beuve. In 1829, the magazine Revue de Paris published his portraits of Corneille, Boileau, and Lafontaine. The history of portraiture in Russian criticism begins with Karamzin’s “Bulletin of Europe”, in which the publisher himself published a biography of I.F. Bogdanovich (Bulletin of Europe, 1803, No. 9-10). Many Russian magazines, including art history magazines, had special sections called “Biography” or “Biography and Neurology.” Thus, in the “Drama Journal for 1811” (Moscow), “Journal of Fine Arts” (St. Petersburg, 1823); the magazine “Repertoire of the Russian Theater” (1823), the magazine “Artist” (Moscow, 1889) and others, there were special departments in which similar portrait essays were published. Subsequently, the genre went beyond critical sections and crossed the boundaries of magazine types of publications.

A special feature of the emergence of the literary portrait is the fact that in Europe and Russia it was born as a genre of literary criticism and in connection with the emergence of the so-called “new romantic method”. In the early stages of the development of literature, portraits are replete with metaphors, comparisons, and vivid epithets: “These were two stalwart young men, still looking from under their brows, like recently graduated seminarians. Their strong, healthy faces were covered with the first fluff of hair, which had not yet been touched by a razor.” Despite its colorfulness, such portraiture was not an accurate reflection of the individual characteristics of the character. This situation persisted in literature until the 19th century.

Portrait in various literary genres

In various literary genres and genres, the portrait changes with changes in artistic methods, styles and literary trends. At different stages of literary development, at its various moments, a portrait differs in the degree of its typicality and the degree of its individualization based on its ideological content. In the works of writers who gravitate toward naturalism with its social and everyday generalizations or toward realism, which reveals deeper social contradictions, the portraits of heroes are usually distinguished by realistic plausibility and typicality. The hero is portrayed as a typical representative of his environment, in its ordinary, everyday everyday relationships and settings; in the portrait of heroes, everyday everyday features are most often emphasized, which do not have anything exceptional or extraordinary in them. Such a hero was shown in “The Overcoat” by N.V. Gogol: “The official cannot be said to be very remarkable, short in stature, somewhat pockmarked, somewhat reddish, somewhat blind in appearance, with a small bald spot on his forehead, with wrinkles on both sides of the cheeks and a complexion that is called hemorrhoidal.”

In the works of writers distinguished by certain shades of romanticism and fantasy, one can often see a repulsion from the ordinary and everyday. The characters are portrayed as exceptional individuals in unusual, rarely encountered circumstances, and their portraits contain a lot of the extraordinary, the exaggerated, and sometimes the fantastic. An example is the detailed description of the changed clothes of the sons of Taras Bulba: “The students suddenly changed: instead of the previous dirty boots, red morocco boots with silver horseshoes appeared on them; trousers as wide as the Black Sea, with a thousand folds and ruffles, were covered with a golden spectacle; Long straps with tassels and other trinkets for the pipe were attached to the glasses. A scarlet-colored Cossack, cloth bright as fire, was girded with a patterned belt; there were embossed Turkish pistols
tucked into the belt; the saber clanged against his legs. Their faces, still slightly tanned, seemed to become prettier and whiter; the young black mustache now somehow set off its whiteness and the healthy, powerful color of youth more brightly; they looked good under black mutton caps with a golden top.” This is no longer an everyday, but a romantic portrait, found mainly in romantic poems, ballads and lyrics. However, realist writers’ portraits are not always distinguished by maintaining the features of external verisimilitude. In some works of realist writers, permeated with romance or a satirical mood, reaching the point of grotesque, we find a typical portrait of typical heroes, shown in exaggerated everyday relationships or outside of them. Depending on the nature of the literary style, the content of the portrait and the place given to it change. Hence the very different forms of portraiture in the history of literature - from richly developed to almost complete absence of it (for example, among the Symbolists). The Romantics abandoned all previous aesthetic norms, but could not remain independent for long. Their portraits gradually became canonized: a romantic hero must have restless and gloomy look , the features are stern and melancholy.

“Kept a trace of the alarm of abuse

Wrinkles of a dark brow.

There is blood in the weapon and dress;

In the last frantic squeeze

The hand on the mane froze.”

(Demon, M.Yu. Lermontov)

The sentimental portrait affirms the rich spiritual world of the hero. Attention is paid to the spiritual world of a person, and feelings come first. “A young, well-dressed, pleasant-looking man met her on the street. She showed him the flowers and blushed.” In this portrait from the work “Poor Liza” by N.M. Karamzin does not pay attention to the face and appearance of the young man. All that is said is that the young man (Erast) was young and handsome, and the girl “blushed” when she saw him.

In folklore, the positive heroes of fairy tales are always dazzlingly beautiful. The fantastic beauty of good in oral folk art contrasts with the exaggerated ugliness of evil.

“Speak the truth, young lady

There really was a queen:

Tall, slender, white,

And I took it with my mind and with everything;

But proud, brittle,

Willful and jealous."

(The Tale of the Dead Princess and the Seven Knights, A.S. Pushkin)

“She was a tall, slender, dazzlingly white woman -

The Snow Queen; and the fur coat and hat she was wearing were made of snow.”

(The Snow Queen, H.H. Andersen)

Only the realistic portrait became individualized, in which verbal painting was supplemented with analysis that conveys complexity and diversity, in which the originality of nature was embodied. A wonderful portrait gallery was created by Russian writers of the 19th century. Each of them supplemented already known techniques with their findings in the field of literary portraiture.

One of the first to offer a detailed analytical description of the hero’s appearance was M. Yu. Lermontov in the novel Hero of our time . In this work, all artistic means are subordinated to the main goal of the author - to see the hero through the eyes of various characters, to gradually bring the reader closer to unraveling the secret of Pechorin’s personality, whose character develops and reveals itself. An important role in the realization of the writer’s plan is played by the psychological portrait of the hero placed in the short story. Maxim Maksimych . Pechorin's appearance bears the stamp of a complex internal organization. Looking at the hero, the reader begins to understand a lot about his character. The portrait testifies to Pechorin's fatigue and coldness. Grigory Alexandrovich retains the sophistication and sophistication inherent in a person of an aristocratic circle, but they do not save him from indifference to life. The hero’s eyes have the strongest impact on the narrator: “they didn’t laugh when he laughed!.. This is a sign of either an evil disposition or deep, constant sadness. Because of the half-lowered eyelashes, they shone with some kind of phosphorescent shine... It was not a reflection of the heat of the soul or the playing imagination: it was a shine, similar to the shine of smooth steel, dazzling, but cold... "Every feature of Pechorin's face is accompanied by a similar author's commentary . The writer shows that his hero is a man in whose soul the fire of desires has gone out. The feelings left his face, leaving their traces on it and the impression of forces that were not completely wasted, which no longer please Pechorin. He is indifferent to his fate, to his past.

Later, in the works of N.V. Gogol, I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, detailed characteristics of appearance were replaced by portraits, marking a single, but semantically very important detail.

For example, in the portrait of Gogol’s Akaki Akakievich, the main feature is complete facelessness, emphasized by the writer in every way: “No matter how many directors and various bosses changed, everyone saw him in the same place, in the same position, in the same position, in the same an official for a letter, so that later they were convinced that he, apparently, was born into the world completely ready, in a uniform and with a bald spot on his head.”

I. S. Turgenev in the work “Bezhin Meadow” paid special attention to five boys: Fedya, Pavlusha, Ilyusha, Kostya and Vanya. He describes in some detail the appearance and clothing of each of them: “The first, the eldest of all, Fedya, you would give about fourteen years old. He was a slender boy, with beautiful and delicate, slightly small features, curly blond hair, light eyes and a constant, half-cheerful, half-absent-minded smile. He belonged, by all accounts, to a rich family and went out into the field not out of necessity, but just for fun. He was wearing a motley cotton shirt with a yellow border; a small new Armenian jacket, put on saddled, barely rested on his narrow shoulders; A comb hung from a blue belt. His boots with low tops were just like his boots - not his father’s.” The author concluded from Fedya’s portrait: it belongs to a rich family. This was indicated by his clothes, and the author also noticed that the boy was not wearing his father’s boots, but his own. “The second boy, Pavlusha, had tousled black hair, gray eyes, wide cheekbones, a pale, pockmarked face, a large but regular mouth, a huge head, as they say, the size of a beer kettle, a squat, awkward body. The guy was unprepossessing - needless to say! - but still I liked him: he looked very smart and direct, and there was strength in his voice. He couldn’t flaunt his clothes: they all consisted of a simple shirt and patched ports.” Despite his ugly facial features, the author still paid special attention to Pavlusha and found interesting things in him. “The face of the third, Ilyusha, was rather insignificant: hook-nosed, elongated, blind, it expressed some kind of dull, painful solicitude; his compressed lips did not move, his knitted eyebrows did not move apart - it was as if he was still squinting from the fire. His yellow, almost white hair stuck out in sharp braids from under a low felt cap, which he pulled down over his ears every now and then with both hands. He was wearing new bast shoes and onuchi; a thick rope, twisted three times around the waist, carefully tied his neat black scroll. Both he and Pavlusha looked no more than twelve years old.” Turgenev clearly did not really like the boy’s appearance; this is reflected in the portrait itself. “The fourth, Kostya, a boy of about ten, aroused my curiosity with his thoughtful and sad gaze. His whole face was small, thin, freckled, pointed downwards, like a squirrel's; lips could barely be distinguished; but his large, black eyes, shining with a liquid brilliance, made a strange impression; they seemed to want to express something for which the language - in his language at least - had no words. He was short, frail in build, and dressed rather poorly.” This portrait can be called romantic; Kolya collected in his appearance the features inherent in a romantic image, which was perfectly supported by the author. But he is Vanya it was there at first and didn't notice , therefore Turgenev described him briefly: “he lay on the ground, quietly huddled under the angular matting, and only occasionally put his light brown curly head out from under it. This boy was only seven years old."

F. M. Dostoevsky attached great importance to the appearance of the hero. Revealing the inner world of his characters, the writer sought to show the clash of opposing forces, the constant struggle between consciousness and subconscious, intention and the implementation of this intention. The heroes of his works not only worry, they suffer painfully. Striving for deep psychological motivation of the character, F. M. Dostoevsky also subordinates portraiture to this task. But he very vividly describes one old man from “White Nights”: “The face is so important, thoughtful; He keeps whispering under his breath and waving his left hand, and in his right he has a long, knotty cane with a gold knob.” Thus, he gives one small portrait, recording only the main distinctive features of the hero, and does not delve into descriptions of the smile, hair, eyes. But nevertheless, the image of an old man can be easily imagined.

A recognized master of psychological analysis not only in Russian, but also in world literature is L. N. Tolstoy. Among the writer’s favorite techniques for embodying character, a portrait plays a special role. Tolstoy, as if in a mirror, is reflected living truth of human physiognomy , rare features bring out everything that lurks inside... a person . In the portraits of Tolstoy’s heroes, everything is changeable and mobile. Appearance serves as a means of conveying the dynamics of the hero’s mental life. An example is the portrait of Varenka in the story “After the Ball”: “She was a wonderful beauty even at fifty years old. But in her youth, eighteen years old, she was lovely: tall, slender, graceful and majestic, just majestic. She always held herself unusually straight, as if she could not do otherwise, throwing her head back a little, and this gave her, with her beauty and tall stature, despite her thinness, even bonyness, a kind of regal appearance that would frighten away from her if If it weren’t for the affectionate, always cheerful smile of her mouth, her lovely, sparkling eyes, and her entire sweet, young being.” . This portrait also contains notes of romanticism.

In modern literature, for example, in the work “Kys” by Tatyana Tolstoy, you can find very unusual portraits, incomparable with anything: “And those who were born after the Explosion have different consequences - all sorts of them. Some have hands that look like they are covered in green flour, as if he was rummaging through bread; some have gills; Others have a cock's comb or something else. But it happens that there are no Consequences, perhaps by old age the pimples will disappear from the eyes, or in a secluded place the beard will begin to grow right down to the knees. Or your nostrils will prick up on your knees.” The heroes of the novel look more like monsters than people, although they dress normally and speak in a characteristic caricatured dialect<#"justify">Conclusion

portrait hero literature romantic

So, let's summarize. Portraits appeared in magazines in the 19th century, and in Russia it was born as a genre of literary criticism, in connection with the emergence of the “new romantic method.” Romantic portraits became canonized. Romantic heroes must have certain external characteristics, they must be excited. In folklore there is a constant opposition between good and evil. If positive heroes are always beautiful and kind, then negative ones were distinguished by both external and internal ugliness. In a sentimental portrait, the main thing is to appeal to the feelings and soul of the hero, but in a realistic portrait, on the contrary, the originality of nature is valued. A fantastic portrait can break all boundaries and rules. Such a portrait can contain anything.

Having become acquainted with portraits in works of different genres, from different authors, I can say with confidence that the portrait is one of the most important artistic means that helps to understand the most complex and contradictory characters. Unlike other ways of depicting a hero, be it fine art or sculpture, a portrait in a literary work is the most dynamic, capable of fully conveying the appearance, facial expressions, gestures, and movements of the individual. It is precisely this completeness that is interesting not only in a literary portrait, but in all literature in general.

List of materials used

L.I. Krichevskaya “Portrait of a Hero”

www.wikipedia.org

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1. Portrait- image of the hero’s appearance. As noted, this is one of the techniques for character individualization. Through a portrait, the writer often reveals the inner world of the hero, the features of his character. In literature, there are two types of portraits - unfolded and torn. The first is a detailed description of the hero’s appearance (Gogol, Turgenev, Goncharov, etc.), the second is that as the character develops, characteristic details of the portrait are highlighted (L. Tolstoy, etc.). L. Tolstoy categorically objected to a detailed description, considering it static and unmemorable. Meanwhile, creative practice confirms the effectiveness of this form of portraiture. Sometimes an idea of ​​the hero’s external appearance is created without portrait sketches, but with the help of a deep disclosure of the hero’s inner world, when the reader, as it were, completes the picture himself. “So, in Pushkin’s romance “Eugene Onegin” nothing is said about the color of the eyes or stripes of Onegin and Tatiana, but the reader imagines them as alive.

2. Actions. As in life, the character of a hero is revealed primarily in what he does, in his actions. The plot of the work is a chain of events in which the characters' characters are revealed. A person is judged not by what he says about himself, but by his behavior.

3. Individualization of speech. This is also one of the most important means of revealing the character of the hero, since in speech a person fully reveals himself. In ancient times there was an aphorism: “Speak so that I can see you.” The speech gives an idea of ​​the hero’s social status, his character, education, profession, temperament and much more. The talent of a prose writer is determined by the ability to reveal the hero through his speech. All Russian classic writers are distinguished by the art of individualizing the speech of characters.

4. Biography of the hero. In a work of fiction, the hero’s life is depicted, as a rule, over a certain period. In order to reveal the origins of certain character traits, the writer often provides biographical information related to his past. Thus, in I. Goncharov’s novel “Oblomov” there is a chapter “Oblomov’s Dream,” which tells about the hero’s childhood, and it becomes clear to the reader why Ilya Ilyich grew up lazy and completely unadapted to life. Biographical information important for understanding Chichikov’s character is given by N. Gogol in the novel “Dead Souls”.

5. Author's description. The author of the work acts as an omniscient commentator. He comments not only on events, but also on what is happening in the spiritual world of the heroes. The author of a dramatic work cannot use this means, since his direct presence does not correspond to the peculiarities of dramaturgy (his stage directions are partially fulfilled).

6. Characteristics of the hero by other characters. This tool is widely used by writers.

7. Hero's worldview. Each person has his own view of the world, his own attitude towards life and people, so the writer, to complete the characterization of the hero, illuminates his worldview. A typical example is Bazarov in I. Turgenev’s novel “Fathers and Sons,” expressing his nihilistic views.

8. Habits, manners. Each person has his own habits and manners that shed light on his personal qualities. The habit of teacher Belikov from A. Chekhov’s story “The Man in a Case” to carry an umbrella and galoshes in any weather, guided by the principle “no matter what happens,” characterizes him as a hardened conservative.

9. The hero's attitude towards nature. By how a person relates to nature, to “our smaller brothers” animals, one can judge his character, his humanistic essence. For Bazarov, nature is “not a temple, but a workshop, and a person is a worker.” The peasant Kalinich has a different attitude towards nature (“Khor and Kalinich” by I. Turgenev).

10. Property characteristics. The caves surrounding a person give an idea of ​​his material wealth, profession, aesthetic taste and much more. Therefore, writers widely use this medium, attaching great importance to the so-called artistic details. So, in the living room of landowner Manilov (“Dead Souls” by N. Gogol), the furniture has been standing unpacked for several years, and on the table there is a book, open for the same number of years on page 14.

11.Psychological analysis tools: dreams, letters, diaries, revealing the hero’s inner world. Tatyana's dream, letters from Tatyana and Onegin in A.S. Pushkin's novel “Eugene Onegin” help the reader understand the inner state of the characters.

12. Meaningful (creative) surname. Often, to characterize characters, writers use surnames or given names that correspond to the essence of their characters. Great masters of creating such surnames in Russian literature were N. Gogol, M. Saltykov-Shchedrin, A. Chekhov. Many of these surnames became household names: Derzhimorda, Prishibeev, Derunov, etc.