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Literary ideas about the character system

This work is devoted to the analysis of the character system in literature lessons in high school. We will understand the term “analysis” in a broad sense - as “a study that includes both the mental decomposition of a work and the combination of selected aspects of elements into a whole.” The organization of characters is literary work of art appears as a system. The description of its specific aspects is a task of paramount importance for this work, the starting point for the analysis of the work. Our task is to identify these aspects and understand by what principle the characters are organized into a system. To begin with, we will try to decompose the work into its component elements, highlight important aspects, and then combine them into a whole according to common features.

Turning to the consideration of the work, we proceed from the ideas reflected in the work of V.G. Zinchenko "Methods of studying literature". According to these ideas, we are dealing with meaningful form and artistic content. According to the same source, the concept of “meaningful form” consists of several components that can become the subject of independent consideration or the starting point for analyzing a work, for example: plot or composition. One of the levels of the meaningful form of a work should be considered a system of characters. The importance of the system of characters in a literary work is evidenced, for example, by the following statement by V.G. Belinsky: “ Artistic creation must be completely ready in the artist’s soul before he takes up the pen... He must firstto see before you the faces from whose mutual relationships his drama or story is formed...". Thus, already V.G. Belinsky noted that there is a certain connection between the heroes of the work, without which the implementation of the plan is impossible.

What is the system in a broad sense? The term "system" comes from the Greek word "systema", meaning a whole made up of parts. The definition of a system is present in various branches of science in a narrow and broad sense - both as a naturally organized collection of homogeneous elements, and as a collection of systems and subsystems. According to the opinion of V.G. Zinchenko« A system is understood as a certain integrity formed by a set of elements that are in connections and relationships with each other. In addition to the property of connectivity, hierarchy is also usually mentioned as the most important feature of the system.” The system of characters in a work, just like any other system, represents integrity. In the case of a character system, its elements will be the characters themselves, that is, the heroes acting in the work. Subsystems can be considered their groups, connections formed by several characters, which are united according to their main characteristics. Let's not forget about the hierarchy, which is somehow present in any work with a sufficient number of characters.

What is a character as an element of a system? The terminological designation of the image of a person in a literary work is one of important issues modern literary criticism. In accordance with the task of this work, we will consider that a character is a character in a plot-driven work of art, most often embodying characteristic features image of a person. The main characters of the work have a character expressed in complex system artistic means. Thus, a specific analysis of the system of characters in a literary work will simultaneously identify the characters and the artistic means of their embodiment.

There are quite a lot of references to the concept of “character system” today. In literary criticism, the term “character system” appeared only in the 80s of the 20th century.

The concept of a character system is still used by many researchers without a special definition, although it should be noted that we're talking about mainly about the system of images, where “by image we mean the image of a person in a work of art.”

Without using the term “character system”, Yu.V. Mann writes about various kinds of connections between characters. Drawing attention to the importance of the “motive of abandonment, departure” for the entire artistic fabric of the novel by I.S. Turgenev’s “Smoke”, the researcher states “a special kind of character connections” that arise as a result of the development of this motive: “Meanwhile, since the motive of leaving realizes not only a moment of ideological confrontation, but a subtle play of sympathies or antipathies, intimacy or alienation - in a word, everything the diversity of human relationships, then it, this motive, becomes the unifying beginning of the novel’s action.” In the work of Yu.V. Mann, it is important for us, firstly, to highlight the various connections between the characters, and secondly, to establish a connection between the “ideological confrontation” and a wide range of relationships that form the event-psychological basis of the character system.

The article by V.A. is also important for us. Grekhneva from the book “Verbal image and literary work”: “In large genre forms(primarily in a novel) the composition can be organized around one or several broadly outlined characters.” Thus, the author of the article strives to designate the system of characters in the work. But we think it would not be entirely correct to assume that this phenomenon is characteristic only of large genre forms.

A.G. also dwells on some features of the character system. Tseitlin in the book “The Work of a Writer”. Firstly, “the characters in a work of fiction act in some way, i.e. perform actions and are therefore in certain relationships.” It is further noted: “The writer strives... to ensure that the hero’s state of mind becomes clear from his actions.” The character system is “continuously changing”, while a certain “hierarchy of characters” is maintained. In addition, a grouping occurs, which “within the system of characters each time corresponds to the correlation of certain social forces.” The literary critic pays attention to both the external properties of the character system (its variability, hierarchy), and its internal features based on the interaction and opposition of characters - the embodiment of “ state of mind heroes”, a reflection of the struggle of social forces, i.e. ultimately - ideological content works.

N.D. Tamarchenko in the book “ Literary terms” gives the following definition of the concept that interests us: “The system of characters is an artistically purposeful correlation of all the “leading” characters and all the so-called “minor” characters in a literary work. Through the system of characters, a single author’s idea of ​​a person is expressed in his relationship with nature, society and history, as well as about the types of people...” IN this definition the idea is clearly expressed that the character system serves, first of all, as a means of expression author's attitude to the environment and understanding of life as such.

Speaking about the role of the author in the character system, researcher V.E. Khalizev notes that the author invariably expresses (of course, in the language of artistic images, and not by direct conclusions) his attitude towards the position, attitudes, and value orientation of his character. At the same time, the image of the character, according to V.E. Khalizeva (like all other links in the verbal and artistic form), “appears as the embodiment of a writer’s concept, idea, i.e. as something whole within the framework of another, broader, artistic integrity (the work as such). It depends on this integrity; one might say, it serves it at the will of the author.” With any serious mastery of the character sphere of the work, the reader inevitably penetrates into spiritual world author: in the images of heroes he sees (primarily by direct feeling) the creative will of the writer.

Expressed by V.E. Khalizev’s idea that the author’s attitude towards the hero can be predominantly either alienated or related, but not neutral, allows us to understand that each character, regardless of his position in the system, has a certain author’s assessment, which, perhaps, in turn, determines his place in this system of characters. Equally interesting is the thought of V.E. Khalizeva about the importance of group, collective characters that can act in a work. In addition, characters are often the stimulus for the development of events that make up the plot, which is important when characters appear in the plot and thus their functions in the system.

Turning to the concept of character as an element of the system of the work of L.V. Chernets notes that the concept of character (hero, character) is the most important in the analysis of epic and dramatic works, where it is the characters that form a certain system and the plot (system of events) that form the basis of the objective world.

We know that most often a literary character is a person. The degree of concreteness of its presentation, according to L.V. Chernets, can be different and depends on many reasons: on the place in the system of characters, on the type and genre of the work, etc. But most of all, the principles of depiction, the very direction of detailing are determined by the concept of the work, the creative method of the writer: about a minor character in a realistic story in a biographical one, more can be communicated socially than about the protagonist of a modernist novel. Thus, we cannot judge a character’s place in the system only by the amount of text that the author allocated to this particular hero. It is important to determine the author’s intention and clearly understand which of the heroes serves to implement this idea.

The character sphere of literature consists not only of isolated individuals, but also of collective heroes. L.V. Chernets notes in this regard: “Interest in the problems of nationality and social psychology stimulated XIX literature-XX V. development of this image angle (the crowd in the “Cathedral Notre Dame of Paris» V. Hugo, the bazaar in “The Belly of Paris” by E. Zola, the workers’ settlement in M. Gorky’s novel “Mother”, “old women”, “neighbors”, “guests”, “drunkards” in L. Andreev’s play “The Life of a Man” etc.)".

If the characters in a work are usually not difficult to count, then understanding the characters embodied in them and the corresponding grouping of persons is, according to L.V. Chernets, the act of interpretation, analysis. The author further notes that the number of characters in a work (as in a writer’s work as a whole) usually does not coincide: there are much more characters. There are persons who do not have a character, fulfilling only a plot role (for example, in “Poor Liza” by N.M. Karamzin, the heroine’s friend who informed her mother about the death of her daughter). There are doubles, variants of the same type (the six Tugoukhovsky princesses in “Woe from Wit” by A.S. Griboedov, Dobchinsky and Bobchinsky in “The Government Inspector” by N.V. Gogol, Berkutov and Glafira, forming a contrasting pair in relation to Kupavina and Lynyaev, in comedy “Wolves and Sheep” by A.N. Ostrovsky). Usually you have to figure out whether heroes of this type are so important in the system, and for what purpose they are present in a particular work.

Researchers also emphasize that the character system is directly related to the plot of the work. L.V. Chernets believes that the basis of the objective world of epic and dramatic works is usually a system of characters and plot. "Even in works main topic which is a person alone with wild, virgin nature (“Robinson Crusoe” by D. Defoe, “Walden, or Life in the Woods” by G. Thoreau, “Mowgli” by R. Kipling), the character sphere, as a rule, is not limited to one hero.”

It is important to remember, according to L.V. Chernets: like any system, the character sphere of a work is characterized through its constituent elements (characters) and structure - “a relatively stable way (law) of connecting elements.” This or that image receives the status of a character precisely as an element of the system, a part of the whole, which is especially clearly visible when comparing images of animals, plants, things, etc. various works them with a person.

The main characters are grouped around the secondary ones, participating in the struggle on one side or the other ( most important property structures - hierarchy). At the same time, the diversity of specific characters in archaic plot genres can be classified.

Plot connections as a system-forming principle can be very complex, branched and cover a huge number of characters. As an example, L.V. Chernets cites “War and Peace” by L.N. Tolstoy, where there are about six hundred characters, and O. Balzac’s “Human Comedy” - about two thousand. The appearance of these individuals is in most cases motivated by the plot.

However, the researcher further notes, plot connection is not the only type of connection between characters. “A character system is a certain ratio of characters. Most often, the plot roles of the heroes more or less correspond to their importance as characters.”

Among the main provisions addressed to the character system, L.V. Chernets highlights a kind of peculiarity that lies in the fact that fantastic creatures can also be characters along with people. Collective heroes also make up the character sphere. In addition, there are characters who have no character, fulfilling only a plot role. The appearance of minor characters in most cases is motivated by the plot. Here the author introduces us to the concept of extra characters. As for the author of the work, his creative position is important here, since the principle of depicting characters is determined by the writer’s creative method.

In the book “Introduction to Literary Studies,” edited by G.N. Pospelov also emphasized the importance of the character system: “Characters, in their totality making up the system, are, apparently, the side of a literary work that is most closely connected with the content. And when understanding the idea of ​​an epic or dramatic work, it is important to understand, first of all, the function of the character system - its meaning and meaning. It is with this that it is natural to begin considering a short story or a novel, a comedy or a tragedy.”

A.B. Esin notes that when analyzing epic and dramatic works, certain attention should be paid to the composition of the character system, that is, the characters in the work (we emphasize that it is not the analysis of the characters themselves, but their mutual connections and relationships, that is, composition). For the convenience of approaching this analysis, notes A.B. Esin, it is customary to distinguish between main characters (who are at the center of the plot, have independent characters and are directly related to all levels of the content of the work), secondary characters (who are also quite actively involved in the plot, who have their own character, but who receive less authorial attention; in some cases, their function - help reveal the images of the main characters) and episodic (appearing in one or two episodes of the plot, often without their own character and standing on the periphery of the author’s attention; their main function is to give impetus to the plot action at the right moment or to highlight certain features of the main characters and secondary ones). This is the most common classification, but not the only one. It would seem a very simple and convenient division, and yet, notes A.B. Yesin, in practice it often causes bewilderment and some confusion. The fact is that the category of a character (main, secondary or episodic) can be determined according to two different parameters. The first is the degree of participation in the plot and, accordingly, the amount of text that this character is given. The second is the degree of importance of this character for revealing sides artistic content. But it often happens that the character’s parameters do not coincide with each other; most often in the case where a minor or episodic person from the point of view of the plot carries a large content load.

But it should be noted that this gradation is not always important, in some artistic systems we encounter such an organization of the system of characters that the question of dividing them into main, secondary and episodic ones loses all meaningful meaning. Although in some cases there are differences between individual characters in terms of plot and volume of text. And A.B. himself Esin notes that Gogol wrote about his comedy “The Inspector General”: “every hero is here; the flow and progress of the play produces a shock to the whole machine: not a single wheel should remain rusty and not included in the work.”

The same principle, according to the literary critic, in the composition of the character system is maintained by Gogol in the poem “ Dead Souls" In the orbit of our attention, first of all, Chichikov is the “main” character (the word “main” inevitably has to be put in quotation marks, because, as it gradually turns out, he is not more important than all the others). Further, landowners, sometimes officials and, if time permits, one or two images from among Plyushkin’s “souls” come into our field of vision. And this is unusually small compared to the crowd of people who inhabit the space of Gogol’s poem. The number of people in the poem is simply amazing, they are at every step, and before we get to know Chichikov, we have already seen “two Russian men”, without a name or external signs, who do not play any role in the plot, do not characterize Chichikov in any way and in general seem to be of no use. And we will later meet a great many such figures... List them all, or at least a significant part, according to A.B. Yesina, there is no way. And the most interesting thing in Gogol’s system of “episodic” characters, he notes, is that each of them is unforgettably individual, and yet none of them performs any functions usual for this type of character; they do not provide impetus to the plot action and do not help characterize the main characters. In addition, Esin also draws attention to the detail in the depiction of these characters, which is clearly excessive for a “passing”, peripheral hero; the nameless owner of a roadside tavern turns out to be no less interesting for the author than Chichikov or Plyushkin. And this already creates a special setting, a special meaningful meaning of the composition: we are no longer looking at images individuals, but something broader and more significant - the image of the population, people, nation; peace at last.

Almost the same composition of the character system, notes A.B. Yesin, observed in Chekhov's plays, and here the matter becomes even more complicated: the main and minor characters cannot be distinguished even by the degree of participation in the plot and the volume of the image. And here, close, but somewhat different from Gogol’s, the following composition carries a meaningful meaning: Chekhov needs to show a certain set ordinary people, ordinary consciousness, among which there are no outstanding, extraordinary heroes, on whose images one can build a play, but for the most part they are, nevertheless, interesting and significant. To do this, it is necessary to show a multitude of equal characters, without singling out the main and minor ones; This is the only way that something common is revealed in them, namely the drama inherent in everyday consciousness failed life, a life that has passed or is passing in vain, without meaning and even without pleasure.

Thus, although A.B. Esin suggests dividing characters into main, secondary and episodic, but in some artistic systems this division loses all meaning, so you need to understand whether it is possible to classify the characters of the work being studied in this way. It is assumed that two parameters should be taken into account to determine the category of characters. This is the degree of participation of a particular character in the plot (the amount of text that is allocated to him) and the degree of importance of this character for revealing aspects of the artistic content. Episodic characters may differ from the main ones only quantitatively (in terms of image volume), and not qualitatively (in terms of the degree of author’s interest in them). This creates a special meaningful meaning - the image of a people, a nation, a population. Sometimes the main and secondary characters cannot be distinguished either by the degree of participation in the plot or by the volume of the image. Many equal characters help to reveal something common. Characters can also be grouped according to the themes they embody.

So, having an idea of ​​what a character system is, it becomes absolutely necessary to understand the function of a character system, its meaning, its significance. It is with the analysis of the character system, as suggested by the above-mentioned researchers, that it is important to begin the analysis of the work. Even the smallest details related to the presence of a character in the system must be taken into account. Dividing characters into main, secondary and episodic, as noted, is not always possible. Can the characters who appear during the course of the work and are in one way or another included in the system of characters and form part of it be called episodic, that is, appearing only in some episodes? Is the name suitable for the main characters who are the center of the author’s attention? Can the characters who form the basis of the plot action be considered minor?

In order for students to understand the role of characters in a literary work and their role in the text, and to be able to correctly construct a retelling, it is necessary to try to correctly answer these questions in the first literature lessons in high school.

List of used literature

1. Andreev A.N. Literary theory: personality, work, artistic creativity. Mn.: BSU, 2004. 187 p.
2. Belinsky V.G. Complete collection essays. In 5 volumes. M.: USSR Academy of Sciences, 1954. T.5 414 p.
3. Introduction to literary criticism / Rep. ed. G.N. Pospelov. M.: Higher. school, 1976. 283 p.
4. Grekhnev V.A. Verbal image and literary work. Book for teachers. M.: Education, 1992. 212 p.
5. Esin A.B. Principles and techniques of analyzing a literary work: Tutorial. M.: Flinta, Nauka, 2000. 248 p.
6. Zinchenko V.G. and others. Methods of studying literature. Systematic approach (textbook)/ Zinchenko V.G., Zusman V.G., Kirnoze Z.I. M.: Flinta: Nauka, 2002. 200 p.
7. Literary encyclopedic dictionary/ Rep. ed. V.M. Kozhevnikova, M.: Sov. encyclopedia, 1987. 432 p.
8. Mann Yu.V. Dialectics artistic image. M.: Sov. writer, 1987. 137 p.
9. Tamarchenko N.D. Literary terms. Materials for the dictionary. Kolomna, 1999. 282 p.
10. Khabibulina, G.N. Introduction to Literary Studies and Literary Theory ( methodological manual) M: graduate School: Academy, 2008. 68 p.
11. Khalizev V. E. Theory of Literature. M.: Higher School, 2002. 437 p.
12. Chernets L.V., Khalizev V.E., Broitman S.N. Introduction to literary criticism. Literary work: Basic concepts and terms: Textbook. M.: Higher school: Publishing house. Center Academy, 1999. 556 p.
13. Tseitlin A.G. The work of a writer. M.: Sov. writer, 1962. 412s.

A literary hero is a person who is clearly individual and at the same time clearly collective, that is, generated by the social environment, interpersonal relationships. He is rarely presented in isolation, in a one-man show. The hero flourishes in a certain social sphere, among his own kind. He is included in the “list of characters,” in the system of characters that most often appears in works of major genres (novels). The hero can be surrounded, on the one hand, by relatives, friends, comrades-in-arms, on the other - by enemies, ill-wishers, on the third - by other people who are strangers to him.

The character system is a strict hierarchical structure. Heroes are usually differentiated based on their artistic significance(values). They are separated by the degree of authorial attention (or frequency of image), ontological purpose and the functions they perform. Traditionally, there are main, secondary and episodic characters.

The main characters are always “in sight”, always at the center of the work. They have a strong character and strong will. And therefore they actively master and transform artistic reality: predetermine events, perform actions, conduct dialogues. The main characters are characterized by a well-remembered appearance and a clear value orientation. Sometimes they express the basic, general idea of ​​creation; become the author’s “mouthpiece”.

Number of characters in the center literary storytelling may be different. At I.A. Bunin in “The Life of Arsenyev” we see only one main character. In the Old Russian “Tale of Peter and Fevronya” there are two characters in the center. In J. London's novel “Hearts of Three” there are already three main characters.

Minor characters are next to the main characters, but somewhat behind them, in the background artistic image. The heroes of the second row, as a rule, are the parents, relatives, friends, acquaintances, and colleagues of the heroes of the first row. The personalities and portraits of minor characters are rarely detailed; rather, they appear dotted. These heroes help the main characters “open up” and ensure the development of the action.

This is, for example, a mother poor Lisa in the story of the same name by N.M. Karamzin. This is Kazbich M.Yu. Lermontov from the story “Bela”.

Episodic characters are on the periphery of the world of the work. They don’t quite have characters and act as passive executors of the author’s will. Their functions are purely official. They only appear in one select episode, which is why they are called cameos. Such are the servants and messengers in ancient literature, janitors, carters, casual acquaintances in the literature of the 19th century.

“Woe from Wit” - the first Russian realistic comedy, in which the life of Moscow in the 10-20s of the 19th century appeared before us. Using one of the basic principles of realism - the principle of typification, the playwright created a gallery of images, each of which is typical for its time and class, but at the same time has individual, unique features.
A special role in comedy is given to off-stage and episodic characters, so widely represented in comedy. With their help, the spatial and temporal boundaries of comedy are expanded.
Griboyedov created bright portraits, without which it is difficult to imagine regulars of the English Club or an aristocratic salon. The author himself, in one of his letters to his friend and writer Katenin, wrote: “Portraits and only portraits are part of comedy and tragedy.”
In the series of images of the old nobility, a special place is occupied by the portrait of Catherine’s nobleman Maxim Petrovich. The head of the house - the official Famusov - introduces this “nobleman in the case” as his ideal to follow and addresses him to the younger generation in the person of Chatsky. For Famusov, the important thing is that his uncle received orders, “he ate on gold, had a hundred people at his service, traveled forever in a train,” but the most important thing is that “a century at court.” Thus, a person in Famus society was valued by what rank he held and “what he ate.” Therefore, this society is fighting to ensure that everything remains unchanged. The main life principle was adherence to traditions, steadfastness of authority, social superiority. A nobleman in Russia was protected by the very fact of his origin, and if he followed the traditions and foundations of his class, society, and worshiped its ideals, then good prospects for career growth and material well-being. The main thing is not to be a loser, like Repetilov, or a crazy pleaser, like Zagoretsky, whom Chatsky described as follows: “Molchalin! Zagoretsky will not die in it!” Zagoretsky goes everywhere, knows a lot about the members of society, is a “master of service”: he gets tickets for the play for Sofya, two black little boys for Khlestova and her sister Praskovya. Molchalin also strives to please everyone, while following the precepts of his father “to please all people without exception”:
Who else will settle everything peacefully like that!
There he will stroke the pug in time,
There the card will fit just right.
The little official strives to make a career, take a certain place in society, and become like Famusov.
Among the representatives of this society there are also those who already have ranks, for example Foma Fomich. “There was a department head under three ministers,” Molchalin introduces him, to which Chatsky caustically remarks: “The most empty of the most stupid people.” Before us is a portrait of a man who has succeeded in life, in contrast to Repetilov, who “would have climbed into rank, but met failure.” He wanted to marry the daughter of Baron von Klotz, who “had his sights set on becoming a minister,” and receive a promotion and a good dowry, but nothing came of it. Repetilov is an unlucky person, and society does not take him seriously.
Famus society treats the Frenchman from Bordeaux with great respect and reverence, who was going “to Russia, to the barbarians,” but arrived as if “to his province,” “he did not meet a Russian sound or a Russian face.” Chatsky is indignant against blind admiration for everything foreign. The English club depicted by Griboyedov can also be called “blind imitation.” The “most secret union” that meets on Thursdays, whose members say to themselves: “We’re making noise, brother, we’re making noise,” can also be considered a parody of secret meetings. To create the appearance of activity is typical for this society, as it is typical for Russia as a whole, which Gogol will later show in his immortal comedy “The Inspector General”.
But another phenomenon characteristic of the Moscow nobility is the omnipotence of women. Take, for example, Platon Mikhailovich Gorich, “a boy-husband, a servant-husband,” who is entirely under the thumb of his wife. He is not entirely satisfied with the fact that Natalya Dmitrievna gives him instructions, like a mother to an unreasonable child: “You opened up all over and unbuttoned your vest!.. Fasten it quickly!”, but, nevertheless, he does not say a word to her.
The same state of affairs reigns in another family: Prince Tugoukhovsky does everything that his wife says: he goes to bow, invites guests to the house. By the way these representatives of the fairer sex control their husbands, we can judge them as powerful women who will not cede their power to anyone and will defend the existing order to the last.
Famusov also characterizes other women, episodic characters: “Judges of everything, everywhere, there are no judges above them,” - they can command the army, sit in the Senate - they can do everything. Famus society, despite the existence of the emperor, lives in a state with female rule. The author introduces readers to no less important and significant ladies who occupy a high position in society - Princess Marya Aleksevna and Tatyana Yuryevna. That’s why Molchalin advises Chatsky to go to Tatyana Yuryevna, because “officials and officials are all her friends and all her relatives.” And Famusov himself is very worried about “what Princess Marya Aleksevna will say.” For him, a government official, the princess's court is more terrible, because her word is very significant in society. Also, many are afraid of Khlestova’s trial, because her opinion is also public. In addition, she, like many other representatives Famusov society, loves to gossip. The countess-granddaughter is an embittered gossip, since she has been “in girls for a whole century.” She is unhappy that many people go abroad and get married there.
Natalya Dmitrievna greets the princesses in a thin voice, they kiss and look each other up and down, trying to find faults that will be a reason for gossip. Gossip reigns in Moscow bar society. It is the gossip about Chatsky’s madness, started by his beloved Sophia, that makes the hero a social madman, dooms smart person to expulsion.
Among the off-stage characters one can distinguish not only representatives of the “past century”, but also like-minded people of Chatsky. This cousin Skalozub, who is condemned by society for the fact that “his rank followed him: he suddenly left his service and began reading books in the village.” He missed the opportunity to receive a rank, and this is unacceptable from the point of view of Famus society, and besides, for them “learning is a plague.” Or Prince Fyodor, nephew of Princess Tugoukhovskaya - “he is a chemist, he is a botanist”, “runs away from women”, as well as professors of the Pedagogical Institute, “practicing in schisms and lack of faith.”
It should also be said about Lisa, the servant in Famusov’s house. She has a practical mind and worldly wisdom. She gives apt descriptions of the heroes: “Like all the Moscow ones, your father is like that,” she says to Sophia about Famusov, who is “known among monks for ignorance” and is not averse to hitting on Liza, and the one after Petrusha’s heart. Lisa has a low opinion of Skalozub: “He’s eloquent, but he’s not very cunning.” She is more favorable towards Chatsky: “Who is so sensitive, and cheerful, and sharp.” Lisa is the second reasoner in the comedy, expressing the opinion of the author himself. The characteristics of the characters given by Lisa are additional touches to the portraits created by Griboyedov. It is also interesting that the author gives associative surnames to many of the characters: Repetilov, Tugoukhovsky, Skalozub, Khlestova, Molchalin.
Thus, episodic and off-stage characters help to reveal the characters of the main characters, expand the spatial and temporal framework of the play, and also help create a picture of the life and customs of the life of the Moscow nobility of the 10-20s of the 19th century, contribute to a deeper disclosure of the conflict of the play - the clash of the “century” present” with “the past century”.

Tasks and tests on the topic "Non-stage and episodic characters and their role in A. S. Griboyedov's comedy "Woe from Wit""

• The role of soft and hard signs - Spelling of vowels and consonants in significant parts of words, grade 4

When discussing books, the words “image”, “character”, “hero” flash everywhere, but few people know how they differ from each other. It seems that the hero and the character are all one. Is it one? And what are the differences? And what role do they all play in the story?

Let's figure it out.

Images in the book

An image is a sketch that has several key, iconic features that the author focuses on. The image is the “skeleton” of the future hero, the starting point when creating both his character and his role in the plot.

The concept of image is applicable not only to a person, but also to a city, and to the whole world, and to the author-storyteller.

Character is the second stage of the image

A character is an image, complemented by details and details. In other words, the protagonist of the work. Depending on the role that the characters play in the story, they can be divided into:

• episodic,
• secondary
• and the main ones.

All of them can be either active or passive.

Episodic characters, as a rule, are necessary for the surroundings and do not play a big role in the story, appearing briefly and quickly disappearing from view. So, the episodic characters will be goblins, ready to worship the stranger.

Minor characters, unlike episodic ones, appear more often and not only for the surroundings. Often the secondary characters are the protagonist’s relatives or his long-time friends, who appear on the horizon every now and then with news and greetings.

In our example minor character may become one of the magicians who recognizes the messiah in the victim and from time to time appears nearby to save him or teach him life.

Main characters- these are the images on which the whole story is tied, these are the main characters on whose actions the works are based. This is, in fact, our brave fellow. 🙂 Only he is also a hero. But more on that a little later.

Literary course "Creating a hero"

Suitable for those who are starting to write a book, and for those who want to finalize and “revive” a ready-made hero.

In 14 days you will receive all the necessary theory and step-by-step practical tasks. At the end of the course you will have in your hands full story hero. You will learn his motives and come up with bright plot twists that will show the development of the hero's character in the best possible way.

Passive characters- these are images that have no role in the story and do not in any way affect the main character. They quietly exist on their own and do not interfere with main events. In gaming parlance, these are bots. Passive characters are often created for the setting or atmosphere of the world.

For example, there is a certain girl next to the man who gets caught. She is, firstly, a representative of an unfamiliar world, and therefore a bearer of foreign morals and traditions; secondly, it simply decorates the work, because it is good and sharp-tongued; and thirdly, it does not allow the reader to get bored, pestering the stranger with stupid questions about his former world and hinting at love. If he does not react to love, then she is a passive character. If her actions change the vector of development of the plot and/or the main character, then the girl becomes an active character.

Active, accordingly, participate in history with all their might. Thanks to their actions, the plot changes, intrigue appears and develops. Active characters are action and actions, surprises, changes, surprises for the reader.

Moreover, the active character does not have to be the main one. It can also be episodic. However, when he appears - even if he appears in history three or four times - events will change dramatically.

An active episodic character in our “exemplary” story will be a certain magician who every week provides the visitor with new tasks to save the world. And if in the end this magician also turns out to be the main villain, because of whom the world’s problems began, then you definitely cannot refuse him activity. Even if all the episodes with his participation fit on three pages.

Focal character - who is he and why?

Focal characters are most often spoken of only in relation to an episode, scene or chapter. What kind of “beast” is this?

It's very simple: focal character is a character through whose eyes the reader observes events. In other words, someone who is important to the reader’s experience—whose thoughts, guesses, and feelings we enjoy following.

There can be one focal character - the main one for the entire story. Most often in such cases, the story is completely shown through the eyes of the main character. Or maybe - several focal characters for the story - new in every scene, in every chapter. As you might guess, in this case the focal character is not always the main one. But through his eyes the reader always looks at the piece big picture, important for the development of the entire plot.

The hero is the head of everything

The hero is the main, main character, main character, whose role is most noticeable and significant, whose actions are the most important. It is on the hero, as a rule, that both the intrigue and the idea of ​​the work are tied; it is around the hero that the plot of the story is built.

How to identify a hero? The main burden falls on his shoulders. And, as a rule, he is given the most time, compared to the main characters, both for action and for self-realization. But its most important feature is . If there is no development, if the main character of the story remains the same both at the beginning of the book and at the end, then, alas, it does not reach the level of a hero. Remains an ordinary character, only the main one.

If by the end of the story the person who gets in from a brave, fearless and ironic warrior evolves into an equally brave general who has learned to think and sympathize, then he will be a real full-fledged protagonist.

If he remains the same, not in terms of environment and status, but in character, he will be the main character.

Images, characters and heroes are one of the key elements of storytelling. And from working on actors It largely depends on how imaginative, colorful and interesting your story turns out to be.

Of course, images, heroes, and characters are usually everywhere - even in a fairy tale about hares, even in your thoughts about the meaning of life. And to fully work with them, it is very important to understand what role they play, what semantic load they carry, what do you want to tell with their help?

The meaningful role of heroes and characters, their accentuated participation will give your story clarity, clarity and consistency.

If you want to fully understand how to work correctly with images, characters and heroes, watch the VIDEO LECTURE from the School of Inspiration. In it we examine in detail the following questions:

- where to start creating a book hero;

- how to give it individuality;

- how to make a hero so that the reader falls in love with him.

The full lecture program can be viewed at the link above.

Well-thought-out characters make the story truly believable.