Eternal image. "Eternal images" in world literature
According to the modern illustrated encyclopedia "Literature and Language":
"Eternal images" are mythological, biblical, folklore and literary characters, which vividly expressed the moral and ideological content that is significant for all mankind and received repeated embodiment in literature different countries and eras (Prometheus, Odysseus, Cain, Faust, Mephistopheles, Hamlet, Don Juan, Don Quixote, etc.). Each era and each writer put their own meaning into the interpretation of this or that eternal image, which is due to their multicoloredness and ambiguity, the richness of the possibilities inherent in them (for example, Cain was interpreted both as an envious fratricide and as a brave god-fighter; Faust - as a magician and a miracle worker, as a lover of pleasures, as a scientist obsessed with a passion for knowledge, and as a seeker of the meaning of human life, Don Quixote - as a comic and tragic figure, etc.). Often in literature, characters are created-variations of eternal images, which are given to other nat. features, or they are placed in a different time (as a rule, closer to the author of the new work) and / or in an unusual situation (“Hamlet of the Shchigrovsky district” by I.S. Turgenev, “Antigone” by J. Anui), sometimes they are ironically reduced or parodied (a satirical story by N. Elin and V. Kashaev "The Mistake of Mephistopheles", 1981). Close to the eternal images and characters, whose names have become common nouns in the world and national. Literature: Tartuffe and Jourdain (“Tartuffe” and “The Philistine in the Nobility” by J.B. Molière), Carmen (the short story of the same name by P. Merimee), Molchalin (“Woe from Wit” by A.S. Griboedov), Khlestakov, Plyushkin (“ The Government Inspector" and "Dead Souls" by N.V. Gogol), etc.
In contrast to the archetype, which primarily reflects the "genetic", original features human psyche, eternal images are always the product of conscious activity, have their own "nationality", the time of occurrence and, therefore, reflect not only the specifics of the universal perception of the world, but also a certain historical and cultural experience, enshrined in artistic image.
A reference book of literary terms gives the following definition:
"Eternal Images" - artistic images of works of world literature, in which the writer, on the basis of the vital material of his time, managed to create a durable generalization applicable in the life of subsequent generations. These images acquire a common sense and retain artistic value up to our time.
So, in Prometheus, the features of a person who is ready to give his life for the good of the people are summarized; Antey embodies the inexhaustible power that an inextricable connection with his native land, with his people gives a person; in Faust - the indomitable desire of man to know the world. This determines the meaning of the images of Prometheus, Antey and Faust and the appeal to them by the leading representatives of social thought. The image of Prometheus, for example, was highly valued by K. Marx.
The image of Don Quixote, created by the famous Spanish writer Miguel Cervantes (XVI-XVII centuries), embodies a noble, but devoid of vital soil, daydreaming; Hamlet, hero of Shakespeare's tragedy (XVI - early XVII c.), is a nominal image of a bifurcated person, torn apart by contradictions. Tartuffe, Khlestakov, Plyushkin, Don Juan and similar images live long years in the minds of a number of human generations, since they summarize the typical shortcomings of a person of the past, stable traits of a human character brought up by a feudal and capitalist society.
"Eternal images" are created in a certain historical setting and only in relation to it can be fully understood. They are "eternal", i.e., applicable in other eras, to the extent that the traits of human character generalized in these images are stable. In the works of the classics of Marxism-Leninism, there are often references to such images for their application in a new historical situation (for example, the images of Prometheus, Don Quixote, etc.).
In the context of this term paper the definition of "eternal images" from the reference book of literary terms is much closer in meaning than the similar definition of the modern illustrated encyclopedia, and I will take it as a basis.
So, “eternal images” are artistic images of works of world literature, in which the writer, on the basis of the vital material of his time, managed to create a durable generalization applicable in the life of subsequent generations.
If people could meet different centuries and talk about literature or just about life, then the names of Hamlet, Faust, Don Juan would unite the interlocutors. These heroes seem to come out of works and live their own independent life artists and sculptors try to create their portraits, composers, playwrights, poets dedicate their works to them. There are many monuments to heroes who descended from the pages of books in the world.
Tragic Hamlet, dissolute Don Juan, enigmatic Faust, dreamy Don Quixote - these are the images I explored in my work.
Composition
The history of literature knows many cases when the works of the writer were very popular during his lifetime, but time passed, and they were forgotten almost forever. There are other examples: the writer was not recognized by contemporaries, and the real value of his works was discovered next generations.
But there are very few works in literature, the significance of which cannot be exaggerated, because they contain created images that excite every generation of people, images that inspire the creative searches of artists of different times. Such images are called "eternal", because they are carriers of traits that are always inherent in man.
Miguel Cervantes de Saavedra lived out his age in poverty and loneliness, although during his lifetime he was known as the author of the talented, vivid novel Don Quixote. Neither the writer himself nor his contemporaries knew that several centuries would pass, and his heroes would not only not be forgotten, but would become the most “popular Spaniards”, and their compatriots would erect a monument to them. That they will come out of the novel and live their own independent life in the works of prose writers and playwrights, poets, artists, composers. Today it is difficult to enumerate how many works of art were created under the influence of the images of Don Quixote and Sancho Panza: they were addressed by Goya and Picasso, Massenet and Minkus.
immortal book was born from the idea to write a parody and ridicule chivalric romances, so popular in Europe XVI century, when Cervantes lived and worked. But the writer's idea expanded, and contemporary Spain came to life on the pages of the book, and the hero himself changed: from a parody knight, he grows into a funny and tragic figure. The conflict of the novel is historically specific (displays contemporary writer Spain) and universal (because they exist in any country at all times). The essence of the conflict: the collision of ideal norms and ideas about reality with reality itself - not ideal, "earthly".
The image of Don Quixote also became eternal due to its universality: always and everywhere there are noble idealists, defenders of goodness and justice, who defend their ideals, but are not able to realistically assess reality. There was even the concept of "quixotic". It combines the humanistic striving for the ideal, enthusiasm on the one hand, and naivete, eccentricity on the other. The internal upbringing of Don Quixote is combined with the comicality of its external manifestations (he is able to fall in love with a simple peasant girl, but he sees in her only a noble Beautiful lady).
The second important eternal image of the novel is the witty and earthy Sancho Panza. He is the exact opposite of Don Quixote, but the characters are inextricably linked, they are similar to each other in their hopes and disappointments. Cervantes shows with his heroes that reality without ideals is impossible, but they must be based on reality.
A completely different eternal image appears before us in Shakespeare's tragedy Hamlet. It's deep tragic image. Hamlet understands reality well, soberly evaluates everything that happens around him, firmly stands on the side of good against evil. But his tragedy lies in the fact that he cannot take decisive action and punish the evil. His indecision is not a manifestation of cowardice, he is a brave, outspoken person. His hesitation is the result of deep reflections on the nature of evil. Circumstances require him to kill his father's killer. He hesitates because he perceives this revenge as a manifestation of evil: murder will always remain murder, even when the villain is killed. The image of Hamlet is the image of a person who understands his responsibility in resolving the conflict between good and evil, who is on the side of good, but his internal moral laws do not allow him to take decisive action. It is no coincidence that this image acquired a special sound in the 20th century - a time of social upheaval, when each person solved the eternal "Hamlet question" for himself.
You can give a few more examples of "eternal" images: Faust, Mephistopheles, Othello, Romeo and Juliet - they all reveal eternal human feelings and aspirations. And each reader learns from these grievances to understand not only the past, but also the present.
Eternal images are artistic images of works of world literature, in which the writer, on the basis of the vital material of his time, managed to create a durable generalization applicable in the life of subsequent generations. These images acquire a nominal meaning and retain their artistic significance right up to our time. Also, these are mythological, biblical, folklore and literary characters, who vividly expressed the moral and ideological content that is significant for all mankind and received multiple incarnations in literature. different peoples and epochs. Each era and each writer put their own meaning into the interpretation of each character, depending on what they want to convey to the outside world through this eternal image.
The archetype is the primary image, the original; universal symbols that are the basis of myths, folklore and culture itself in general and passing from generation to generation (stupid king, evil stepmother, faithful servant).
Unlike the archetype, which primarily reflects the “genetic”, original features of the human psyche, eternal images are always the product of conscious activity, have their own “nationality”, time of occurrence and, therefore, reflect not only the universal perception of the world, but also a certain historical and cultural experience enshrined in the artistic image. The universal nature of eternal images is given by “the affinity and commonality of the problems facing humanity, the unity of the psychophysiological properties of man.
However, representatives of different social strata at different times put their own, often unique, content into the “eternal images”, i.e., eternal images are not absolutely stable and unchanging. Each eternal image has a special central motif, which gives it a corresponding cultural significance and without which it loses its significance.
One cannot but agree that it is much more interesting for people of one or another era to compare the image with themselves when they themselves fall into the same life situations. On the other hand, if the eternal image loses its significance for most of any social group, this does not mean at all that it disappears forever from this culture.
Each eternal image can only experience external changes, since the central motif associated with it is the essence that forever secures a special quality for it, for example, Hamlet has the “fate” of being a philosophizing avenger, Romeo and Juliet - eternal love, Prometheus - humanism. Another thing is that the attitude to the very essence of the hero can be different in each culture.
Mephistopheles is one of the "eternal images" of world literature. He is the hero of the tragedy by J. W. Goethe "Faust".
Folklore and fiction different countries and peoples often used the motive of concluding an alliance between the demon - the spirit of evil and man. Sometimes poets were attracted by the story of the "fall", "expulsion from paradise" of the biblical Satan, sometimes - his rebellion against God. There were also farces close to folklore sources, the devil in them was given the place of a mischievous, cheerful deceiver, who often got into a mess. The name "Mephistopheles" has become synonymous with a caustic-evil mocker. Hence the expressions arose: "Mephistopheles' laughter, smile" - caustic-evil; "Mephistopheles facial expression" - sarcastically mocking.
Mephistopheles is fallen Angel who leads an eternal dispute with God about good and evil. He believes that a person is so corrupted that, succumbing to even a small temptation, he can easily give his soul to him. He also believes that humanity is not worth saving. Throughout the work, Mephistopheles shows that there is nothing sublime in man. He must prove by the example of Faust that man is evil. Very often in conversations with Faust, Mephistopheles behaves like a real philosopher, who follows with great interest human life and her progress. But this is not his only image. In communication with other heroes of the work, he shows himself from a completely different side. He will never lag behind the interlocutor and will be able to keep up the conversation on any topic. Mephistopheles himself says several times that he does not have absolute power. The main decision always depends on the person, and he can only take advantage of the wrong choice. But he did not force people to trade their souls, to sin, he left the right of choice for everyone. Each person has the opportunity to choose exactly what his conscience and dignity will allow him. eternal image artistic archetype
It seems to me that the image of Mephistopheles will be relevant at all times, because there will always be something that will tempt humanity.
There are many more examples of eternal images in literature. But they have one thing in common: they all reveal eternal human feelings and aspirations, they try to solve eternal problems that torment people of any generation.
It is customary to call eternal images of literary heroes who, as it were, step over the boundaries of a literary work or myth that gave rise to them, and receive an independent life, embodied in the works of other authors, centuries and cultures. Such are many biblical and gospel images (Cain and Abel, Judas), antique (Prometheus, Phaedra), modern European (Don Quixote, Faust, Hamlet). The Russian writer and philosopher D.S. Merezhkovsky successfully defined the content of the concept of “eternal images”: “There are images whose life is connected with the life of all mankind; they rise and grow with him… Don Juan, Faust, Hamlet – these images have become part of the human spirit, they live with it and will die only with it.”
What properties provide literary images with the quality of eternal? First of all, this is the irreducibility of the content of the image to the role that is assigned to it in a particular plot, and its openness to new interpretations. "Eternal images" should be to some extent "mysterious", "bottomless". They cannot be fully defined either by the social and everyday environment or by their psychological characteristics.
Like a myth, the eternal image is rooted in older, sometimes archaic layers of culture. Behind almost every image classified as eternal, there is a mythological, folklore or literary predecessor.
KARPMAN'S TRIANGLE: Executioner, Victim and Rescuer
There is a relationship triangle - the so-called Karpman Triangle, consisting of three vertices:
Savior
Persecutor (Tyrant, Executioner, Aggressor)
Victim
This triangle is also called magic, as it is worth getting into it, so its roles begin to dictate to the participants the choices, reactions, feelings, perceptions, sequence of moves, and so on.
And most importantly, the participants freely "swim" in this triangle by roles.
The victim very quickly turns into the Persecutor (Aggressor) for the former Savior, and the Savior very quickly becomes the Victim former victim.
For example, there is someone suffering from something or someone (this "something" or "someone" is the Aggressor). And the sufferer (sufferer) is like, the Victim.
The victim quickly finds a Savior (or saviors) who (for various reasons) tries (or rather tries) to help the Victim.
Everything would be fine, but the Triangle is magical, and the Victim does not need to get rid of the Aggressor at all, and the Savior does not need the Victim to stop being a victim. Otherwise, she won't need it. What is the Savior without a sacrifice? The victim will be "cured", "get rid of", who is to be saved then?
It turns out that both the Savior and the Victim are interested (unconsciously, of course) in that in fact everything remains the same.
The victim must suffer, and the Savior must help.
Everyone is happy:
The victim receives his share of attention and care, and the Savior is proud of the role he plays in the life of the Victim.
The victim pays the Savior with recognition of his merits and role, and the Savior pays the Victim for this with attention, time, energy, feelings, etc.
So what? - you ask. Still happy!
No matter how!
The triangle doesn't stop there. The victim is not satisfied with what she receives. It begins to demand more and more and draw off the attention and energies of the Savior. The Savior tries (on a conscious level), but he fails. Of course, on an unconscious level, he is not interested in helping FINALLY, he is not a fool, to lose such a tasty process!
He does not succeed, his condition and self-esteem (self-esteem) decrease, he becomes ill, and the Victim continues to wait and demand attention and help.
Gradually and imperceptibly, the Savior becomes the Victim, and the former Victim becomes the Persecutor (Aggressor) for his former Savior. And the more the Savior invested in the one he saved, the more, by and large, he becomes more indebted to her. Expectations are rising, and he SHOULD fulfill them.
The former victim is increasingly dissatisfied with the Savior "who did not live up to her expectations". She is becoming more and more confused as to who the real aggressor is. For her, the former Savior is to blame for her troubles. Somehow imperceptibly, the transition takes place, and already almost consciously she is dissatisfied with the former benefactor, and she already blames him almost more than the one whom she previously considered her Aggressor.
The former savior becomes a deceiver and a new Aggressor for the former Victim, and the former Victim arranges a real hunt for the former Savior.
But that is not all.
The former idol is defeated and overthrown.
The victim is looking for new Saviors, because her number of Aggressors has increased - the former Savior did not live up to expectations, by and large, deceived her, and must be punished.
The former Savior, being already the Victim of his former Victim, exhausted in attempts (no, not to help, he now cares about only one thing - to be able to escape from the "victim") - begins (already as a true victim) to look for other saviors - both for himself and for his former victim. By the way, these can be different Saviors - for the former savior and the former victim.
The circle is expanding. Why is the triangle called magic, that:
1. Each participant is in all its corners (plays all the roles in the triangle);
2. The triangle is arranged in such a way that it involves more and more new members of the orgy.
The former Savior, used, is thrown away, it is exhausted, and can no longer be useful to the Victim, and the Victim sets off in search and pursuit of new Saviors (its future victims)
From the point of view of the Aggressor, there are also interesting things here.
The aggressor (the real aggressor, the one who considers himself an aggressor, a persecutor) usually does not know that the Victim is not really a victim. That she's not really defenseless, she just needs the role.
The Victim very quickly finds the Saviors, who "suddenly" appear on the path of the "Aggressor", and he very quickly becomes their Victim, and the Saviors turn into the Persecutors of the former Aggressor.
This was beautifully described by Eric Berne using the example of the fairy tale about Little Red Riding Hood.
Hat - "Victim", wolf - "Aggressor", hunters - "Saviors".
But the tale ends with the ripped belly of the wolf.
An alcoholic is a victim of Alcohol. His wife is a Savior.
On the other hand, an alcoholic is an aggressor for his wife, and she is looking for a savior - a narcologist or a psychotherapist.
On the third hand, for an alcoholic, the wife is the Aggressor, and alcohol is his Savior from his wife.
The doctor quickly turns from a Savior into a Victim, as he promised to Save both his wife and the alcoholic, and even took money for it, and the alcoholic's wife becomes his Persecutor.
And the wife is looking for a new Savior.
And by the way, the wife finds a new offender (Aggressor) in the person of the doctor, because he offended and deceived her, and did not fulfill his promises by taking the money.
Therefore, the wife can start the Persecution of the former Savior (doctor), and now the Aggressor, finding new Saviors in the form of:
1. Media, judiciary
2. Girlfriends with whom you can wash the bones already and the doctor ("Oh, those doctors!")
3. A new doctor who, along with his wife, condemns the "incompetence" of the previous doctor.
Below are signs that you can recognize yourself when you find yourself in a triangle.
Feelings experienced by the participants of the events:
Victim:
Feeling helpless
hopelessness,
coercion and infliction
hopelessness
powerlessness
worthlessness
nobody needs
own wrongness,
confusion,
ambiguities,
confusion,
often wrong
own weakness and impotence in the situation
self pity
Savior:
Feeling sorry
desire to help
own superiority over the victim (over the one he wants to help)
more competence, more strength, intelligence, more access to resources, "he knows more about how to act"
condescension to someone who wants to help
a feeling of pleasant omnipotence and omnipotence in relation to a particular situation
confidence that can help
the conviction that he knows (or at least can find out) exactly how to do it
inability to refuse (it is inconvenient to refuse help, or leave a person without help)
compassion, a sharp, nagging feeling of empathy (note that this is a very important point: the Savior is associated with the Victim! This means that he will never be able to truly help her!)
responsibility for another.
Aggressor:
Feeling of self-righteousness
noble indignation and righteous anger
desire to punish the offender
desire to restore justice
hurt pride
the conviction that only he knows what is right
irritation with the victim, and even more so with the saviors, whom he perceives as an interfering factor (the saviors are mistaken, because only he knows what to do right now!)
the thrill of the hunt, the thrill of the chase.
The victim is suffering.
Savior - saves and comes to the rescue and rescue.
The aggressor punishes, persecutes, teaches (teach).
If you find yourself in this "magic" triangle, then know that you will have to visit all the "corners" of this triangle and try all its Roles.
Events in the triangle can take as long as you want - regardless of the conscious desires of their participants.
The alcoholic's wife does not want to suffer, the alcoholic does not want to be an alcoholic, and the doctor does not want to deceive the alcoholic's family. But everything is determined by the result.
Until at least someone jumps out of this damned triangle, the game can continue indefinitely.
How to jump out.
The advice usually given in manuals is to invert roles. That is, replace the roles with others:
The aggressor must become your teacher. The phrase that I say to my students: "Our enemies, and those who "hinder" us, are our best coaches and teachers)
Savior - Assistant or maximum - Guide (you can - a coach, like in a fitness club: you do, and the coach trains)
And the Victim is the Student.
These are very good tips.
If you find yourself in the role of the Victim - start learning.
If you have caught yourself in the role of the Savior - give up stupid thoughts that the one "who needs help" is weak and weak. By accepting his thoughts like that, you are doing him a disservice. You are doing something for him. You prevent him from learning on his own something important to him.
You can't do anything for another person. Your desire to help is a temptation, the victim is your tempter, and you, in fact, are a tempter and provocateur for the one you seek to help.
Let the person do it himself. Let him make mistakes, but it will be HIS mistakes. And he will not be able to accuse you of this when he tries to move into the role of your Persecutor. Man must go his own way.
The great psychotherapist Alexander Efimovich Alekseychik says:
"You can only help someone who is doing something."
And he continued, turning to the one who was helpless at that moment:
"What are you doing so that he (the one who helps) can help you?"
Great words!
In order to get help, you have to do something. You can only help in what they do. If you don't, you can't be helped.
Whatever you do, that's where you can get help.
If you are lying down, you can only be helped to lie down. If you are standing, you can only be helped to stand.
It is impossible to help a person who is lying down get up.
It is impossible to help a person to get up who does not even think about getting up.
It is impossible to help a person who only thinks to get up to get up.
It is impossible to help a person who only wants to get up to get up.
You can help a person who gets up to get up.
You can only help the person who is looking.
You can only help those who are walking.
What is this girl DOING that you are trying to help her with?
Are you trying to help her with what she does not do?
Does she expect you to do something she doesn't do herself?
So does she really need what she expects from you if she does not do it herself?
You can only help a person who gets up.
"Getting up" is making an effort to get up.
These efforts and specific and unambiguous actions are observable, they have specific and indistinct signs. They are easy to recognize and identify precisely for the signs that a person is trying to get up.
And one more thing, which I think is very important.
A person can be helped to stand up, but if he is not ready to stand (not ready that you will remove the support), he will fall again, and falling will be much more painful for him than if he continued to lie down.
What will a person do after being upright?
What is the person going to do after that?
What is he going to do with it?
Why does he need to get up?
How to jump out.
The most important thing is to understand what Role you entered the triangle.
Which corner of the triangle was the entrance to it for you.
This is very important and it is not covered in the manuals.
entry points.
Each of us has habitual or favorite roles-entrances to such magical triangles. And often in different contexts, each has its own inputs. A person at work may have a favorite entrance to the triangle - the Role of the Aggressor (well, he likes to restore justice or punish fools!), And at home, for example, a typical and favorite entrance is the Role of the Savior.
And each of us should know the "points of weakness" of our personality, which simply force us to enter into these our favorite Roles.
It is necessary to study the external decoys that lure us there.
For some, this is someone's misfortune or "helplessness", or a request for help, or an admiring look / voice:
"Oh great!"
"Only you can help me!"
"I'm lost without you!"
You, of course, recognized the Savior in white robes.
For others, it is someone's mistake, stupidity, injustice, incorrectness or dishonesty. And they bravely rush to restore justice and harmony, falling into a triangle on the role of the Aggressor.
For others, it may be a signal from the surrounding reality that she does not need you, or she is dangerous, or she is aggressive, or she is heartless (indifferent to you, your desires or troubles), or she is poor in resources just for you, right at the moment . They are lovers of being Victims.
Each of us has his own decoy, the lure of which is very difficult for us to withstand. We become like zombies, showing heartlessness and stupidity, zeal and recklessness, falling into helplessness and feeling our rightness or worthlessness.
The beginning of the transition from the role of the Savior to the role of the Victim - a feeling of guilt, a feeling of helplessness, a feeling of being forced and obligated to help and the impossibility of one's own refusal ("I am obliged to help!", "I have no right not to help!", "What will they think of me, how Will I look if I refuse to help?").
The beginning of the transition from the role of the Savior to the role of the Persecutor is the desire to punish the "bad", the desire to restore justice that is not aimed at you, the feeling of absolute self-rightness and noble righteous indignation.
The beginning of the transition from the role of the Victim to the role of the Aggressor (persecutor) is a feeling of resentment and injustice done to you personally.
The beginning of the transition from the role of the Victim to the role of the Savior is the desire to help, pity for the former Aggressor or Savior.
The beginning of the transition from the role of the Aggressor to the role of the Victim is a sudden (or growing) feeling of helplessness and confusion.
The beginning of the transition from the role of the Aggressor to the role of the Savior is a feeling of guilt, a sense of responsibility FOR another person.
In fact:
It is VERY pleasant for the Savior to help and save, it is pleasant to stand out "in white clothes" among other people, especially in front of the victim. Narcissism, selfishness.
It is very pleasant for the victim to suffer ("like in a movie") and to be saved (to accept help), feel sorry for himself, earning future non-specific "happiness" by suffering. Masochism.
It is very pleasant for the aggressor to be a warrior, to punish and restore justice, to be the bearer of the standards and rules that he imputes to others, it is very pleasant to be in sparkling armor with a fiery sword, it is pleasant to feel your strength, invincibility and rightness. By and large, someone else's mistake and wrongness for him is a legitimate (legal and "safe") reason (permission, right) to commit violence and inflict pain on another with impunity. Sadism.
The Savior knows how...
The aggressor knows that it is impossible...
The victim wants, but cannot, but more often than not, he doesn’t want anything, because everything is enough ...
And further interesting way diagnostics. Diagnosis by the feelings of the observers/listeners
The observers' feelings may suggest the role played by the person telling you or sharing a problem with you.
When you read (listen to) the Savior (or watch him), your heart is filled with pride for him. Or - with laughter, what a fool has brought himself to with his desire to help others.
When you read texts written by the Aggressor, noble indignation seizes either towards those about whom the Aggressor writes, or towards the Aggressor himself.
And when you read the texts written by the Victim or listen to the Victim, you are seized by acute mental pain FOR THE VICTIMS, acute pity, a desire to help, powerful compassion.
And don't forget
that there are no Saviors, no Victims, no Aggressors. There are living people who can play different roles. And every man falls into a trap different roles, and it happens at all the vertices of this enchanted triangle, but still, each person has some inclinations to one or another peak, a tendency to linger on one or another peak.
And it is important to remember that the point of entry into the triangle (that is, what involved a person in a pathological relationship) is most often the point at which a person lingers, and for which he "flew" into this triangle. But this is not always the case.
In addition, it is worth remembering that a person does not always occupy exactly the “peak” that he complains about.
"Victim" can be Aggressor (Hunter).
"Savior" can actually play, tragically and to death play the role of the Victim or the Aggressor.
In these pathological relationships, as in the famous Carroll's "Alice ...", everything is so confused, inverted and deceitful that IN EACH CASE, quite careful observation of all participants in this "triangular round dance" is required, including oneself too - even if you do not participate in this triangle.
The power of the magic of this triangle is such that any observer or listener begins to be drawn into this Bermuda triangle of pathological relationships and roles (c.)
June 19 2011
Eternal images - this is the name of the images of world literature, which are marked by a great power of bad generalization and have become a universal spiritual acquisition.
These include Prometheus, Moses, Faust, Don Juan, Don Quixote, Hamlet, etc. Arising in specific social and historical conditions, these images lose their historical specifics and are perceived as universal types, images - symbols. New and new generations of writers turn to them, giving them an interpretation due to their time (“The Caucasus” by T. Shevchenko, “The Stone Master” by L. Ukrainka, “Moses” by I. Frank, etc.)
The mind of Prometheus, fortitude, heroic service to people, courageous suffering for their sake has always attracted people. No wonder this is one of the "eternal images." It is known that in there is the concept of "Prometheism". The meaning lies in the eternal desire for heroic deeds, insubordination, the ability to self-sacrifice in the name of humanity. So it is not for nothing that this image encourages brave people to new searches and discoveries.
Perhaps that is why writers, musicians, artists turned to the image of Prometheus different eras. It is known that Goethe, Byron, Shelley, Shevchenko, Lesya Ukrainka, Ivan Franko, Rylsky admired the image of Prometheus. The spirit of the titan inspired famous artists- Michelangelo, Titian, composers - Beethoven, Wagner, Scriabin.
The "eternal image" of Hamlet from the tragedy of the same name by W. Shakespeare became a certain sign of culture and received new life in the art of different countries and eras.
Hamlet incarnated man late Renaissance. A man who comprehended the infinity of the world and his own capabilities and lost in front of this infinity. This is a deeply tragic image. Hamlet understands reality well, soberly assesses everything that surrounds him, firmly stands on the side of good. But his point is that he cannot take decisive action and defeat evil.
His indecision is not a manifestation of cowardice: he is bold, outspoken. His doubts are the result of deep reflections on the nature of evil. Circumstances require him to take the life of his father's killer. He doubts, because he perceives this revenge as a manifestation of evil: murder is always murder, even when a villain is killed.
The image of Hamlet is the image of a person who understands his responsibility in resolving the conflict between good and evil, who is on the side of good, but his internal moral laws do not allow him to take decisive action.
Goethe refers to the image of Hamlet, who interpreted this image as a kind of Faust, a “damned poet” forced to atone for the sins of civilization. special meaning acquired this image from the romantics. It was they who discovered the "eternity" and universality created by Shakespeare. Hamlet in their understanding is almost the first romantic hero who painfully experiences the imperfection of the world.
This image has not lost its relevance in the 20th century - the century of social upheaval, when each person decides for himself the eternal "Hamlet" question. Already at the beginning of the 20th century, the English Thomas Eliot wrote the poem "Alfred Prufrock's Love Song", which reflected the poet's despair from the realization of the meaninglessness of being. Critics accurately called the main character of this poem the fallen Hamlet of the 20th century. The image of Hamlet was addressed in their Russian poets I. Annensky, M. Tsvetaeva, B. Pasternak.
Cervantes lived out his life in poverty and loneliness, although throughout his life he was known as the bright novel Don Quixote. Neither the writer himself nor his contemporaries knew that several centuries would pass, and his heroes would not only not be forgotten, but would become “the most popular Spaniards”, and their compatriots would erect a monument to them that they would come out of the novel and live their own life. own life in the works of prose writers and playwrights, poets, artists, composers. Today it is hard to list how many works of art were created under the influence of the images of Don Quixote and Sancho Panza: Goya and Picasso, Massenet and Minkus turned to them.
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