Prototypes of famous literary heroes. Artistic image

The Queen of Spades is a princess Natalya Golitsyna. In her youth, she was beautiful and reckless. Princess Golitsyna, an acquaintance of Saint-Germain and who became the prototype of Pushkin's Queen of Spades, was credited with knowing the secret of the three winning cards.

Among Pushkin's comrades in card games, the poet was told a story about a certain German who won a large amount of money on some special cards. On the third card, he lost everything and went crazy.

Robinson Crusoe

Actually his name was Alexander Selkirk. He served as boatswain on the Senckor galley, and in 1704 was landed on a desert island. Moreover, of his own free will - he quarreled with the captain and demanded to land him, no matter where. Alexander was sure that he would be taken away soon, but he was mistaken.

On February 1, 1709, after four years and four months of solitude, he was picked up lean, emaciated, almost speechless. When he arrived in Britain, one of the newspapers published the story of his misadventures - "so unusual that one can even doubt that such a thing could ever happen to a person."

This newspaper publication inspired Daniel Defoe, previously not a writer, but a political agitator, to write his first novel. He distorted the facts a little: he placed the island in the Caribbean Sea, moved the action a hundred years ago and settled a person for twenty-eight years, and not four and a half. With the release of the novel in 1719, Daniel gained worldwide fame, glorified the prototype of the protagonist Alexander Selkirk and brought fame to the archipelago itself. In 1960, in honor of the literary hero, the island of Mas-a-Tierra (Closer to the earth) was renamed Robinson Crusoe Island, and the island of Mas-a-Fuera (Farther from the earth), in honor of the prototype of the literary character, was given the name Alexander Selkirk Island.

Three Musketeers

D "Artagnan was born between 1611 and 1623 in the village of Artagnan, in Gascony, in southern France. His name was his father Charles de Batz Comte de Castelmore. After leaving Gascony, he went to Paris, where he entered the guards as a cadet. In the capital, he changed his father's name to his mother's name - Count d "Artagnan: his mother's relatives were more noble.

In 1640, he participated in the siege of Arras along with Cyrano de Bergerac, four years later he became a musketeer, and in the late 1660s he was already a lieutenant commander of the royal musketeers (the king himself was listed as a captain!). He died in 1673 during the siege of Maastricht in Holland, but a year earlier he managed to become a field marshal.

Shortly before his death, the Gascon married a wealthy noblewoman and had children.

As for his sword friends, they also had historical prototypes, Athos is a descendant of a wealthy bourgeois who acquired a noble title for money, Armand de Silleg d "Athos d" Otviel; Porthos is the son of a Protestant military official, Isaac de Porto; Aramis is the son of the quartermaster of the musketeer company, Henri d "Aramitz.

Dumas, in the introduction to the novel, told how he found Courtille's "Memoirs of Mr. d" Artagnan ..." in the library, and then got acquainted with the manuscript "Memoir of Mr. Comte de La Fere on some events ...", on which he decided to rely on writing a trilogy.

Sherlock Holmes

In his student years, when Arthur Conan Doyle studied at the medical faculty, his idol was Professor Joseph Bell. A brilliant surgeon, he amazed everyone with his ability to instantly make an accurate diagnosis of a patient before he had time to open his mouth. "Use the power of deduction," he kept repeating to his students. It was from him that Conan Doyle copied his main character.

The professor did not deny similarities with a popular literary character, but pointed to another prototype - the author himself. "You are the real Sherlock!" - wrote Joseph Bell to a former student and ... a born detective. More than once he managed to unravel cases that baffled the police.

The same Munchausen

Munchausen, which has already become a household name (as Korney Chukovsky wrote his last name), was a very real historical person. Carl Friedrich Hieronymus von Munchausen(the surname originated from it. “Monk's House”, 1720 - 1797) was indeed a German baron, as well as a captain in the Russian army.

Returning to his place in Lower Saxony, Baron Munchausen told his amazing stories about adventures in Russia. Among the most famous plots are the entrance to St. Petersburg on a wolf harnessed to a sleigh, a horse cut in half in Ochakovo, a horse on a bell tower, fur coats furious or a cherry tree growing on a deer's head. Already at the end of the 18th century, during the life of the baron, many books appeared in different countries of Europe, describing "his adventures" and supplementing them.

The well-known Duremar

The well-known cunning Duremar from Alexei Tolstoy's fairy tale "The Golden Key" had a very real prototype. According to the well-known literary critic Mark Minkovsky in his work “Characters, Real and Fictional”, in 1895 a French doctor lived in Moscow. Jacques Boulemard- a passionate admirer of treatment with leeches. He was ready to immediately demonstrate all the advantages of this treatment on himself.

The doctor was incredibly popular, mainly because he was a fun to laugh at while watching him manipulate leeches - in fact, for this purpose he was invited to the salons. Russian children, watching how he catches leeches - in the swamps, in a long raincoat from mosquitoes, teased him with Duremar, distorting his last name. It was a sin not to take advantage of such a colorful way, which Tolstoy did.

Dubrovsky

The story "Dubrovsky" was written using court archival materials of the process in the case of a nobleman, Ostrovsky from whom his small estate was illegally taken away. After the fire, he went with his peasants into the forest and became a robber. He took revenge on those nobles who contributed to this unjust cause. In this court case, there was also the daughter of the landowner-offender, with whom Ostrovsky had been in love since childhood.

It turns out that Masha nevertheless became the wife of Ostrovsky-Dubrovsky, but this happened after the death of her old husband. Only after he became Masha's husband, Ostrovsky leaves the band of robbers and leaves with Masha, who is seriously ill, to Petersburg to treat her. It was then that he was recognized by one of the victims of his robbery activities. He is taken away and put on trial. That's what really happened with Dubrovsky-Ostrovsky.

Chatsky

The prototype of Chatsky is considered a poet and philosopherPetr Chaadaev. Chaadaev criticized the existing system of government in Russia and was a friend of Griboyedov. Pushkin dedicated several poems to him. (Love, hope, quiet glory did not long deceive us ...)
In the drafts, Griboyedov writes the name of the protagonist in a slightly different way - Chadsky.
Interestingly, later Chaadaev largely repeated the fate of his prototype, and by the end of his life, by the highest imperial decree, he was declared insane.

Natasha Rostova

Tatyana Berswas the greatest love of the brother of the great writer Leo Tolstoy - Sergei, whom the future classic adored. How could the classics resist and not bring out Tanechka Bers in the image of her most charming heroine? Under his pen, the image of Natasha Rostova was gradually born, a lovely young creature, glowing from the inside with happiness and sincerity. The naturalness of manners, errors in French, the passionate desire for love and happiness inherent in the real Tatyana Bers, completed the image of Rostova.

Suok

In Odessa, in the family of the Austrian emigrant Gustav Suok, three girls were born and raised: Lydia, Olga and Serafima.
Yuri Olesha married the middle of the Suok sisters - Olga. It is to her that his famous fairy tale "Three Fat Men" is dedicated. But for everyone who knew Sima Suok, it was obvious: it was she - the circus performer Suok and the doll of Tutti's heir. It was not a secret for Olga either. Olesha himself told her: "You are the two halves of my soul."

Sapozhkova Taisiya.

The purpose of the research work was to search for prototypes of the heroes of well-known and studied literary works in the school curriculum.

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Historical prototypes of literary heroes:

"There is no fiction without truth."

Almost every literary character has its own prototype - a real person. Sometimes it is the author himself, sometimes it is a historical figure, sometimes it is an acquaintance or relative of the author. Having often read this or that work, impressed by the events and characters described by the author, one wants to know if this person really existed, who this person really was without the writer’s fiction, and what character traits did the author attribute to him?

The purpose of my research work was to search for prototypes of the heroes of well-known and studied literary works in the school curriculum. But first, let's define what a prototype is.

Prototype - prototype, a specific historical or contemporary personality of the author, who served as his starting point for creating an image.

The process of processing, typification of the prototype Maxim Gorky defined as follows: "I recognize the writer's right and even consider it his duty to "think" a person." The process of "thinking" is the process of generalization, typification of the Prototype in an artistic image.

The processing of the Prototype into an image cannot be viewed only as an expression of the author's attitude towards this Prototype.

The value of researching a Prototype depends on the nature of the Prototype itself. The more striking the phenomenon of society and history is the Prototype, the more meaningful it becomes to study and compare with the image, because in this case we have a reflection in art of an extremely important, meaningful, typical phenomenon of society.

In one of the most significant works of Russian literature"Eugene Onegin" (1823-1831), - novel in verseAlexander Sergeevich Pushkin, - against the broad background of Russian reality, the dramatic fate of the best people of the nobility is shownintelligentsia. The novel, according to Pushkin, was "the fruit of the mind of cold observations and the heart of sad remarks."

Determining the prototypes of certain charactersher novel occupied both contemporary readers and researchers. In the memoirs and scientific literature, extensive material has accumulated devoted to attempts to connect the heroes of Pushkin's novel with one or another real person.

Having studied a large amount of materials of historians - literary critics, I was faced with the fact that there is no consensus about the personality of the prototype of the protagonist of the novel - Eugene Onegin . This gives reason to agree with the opinion that the image of the hero is collective. I will give only the most common names of possible prototypes of Eugene Onegin.

Alexander Pushkin called the main character of his novel in verse - Eugene - his friend. The poet even left a drawing known to many, on which the poet depicted himself along with Onegin against the backdrop of the Peter and Paul Fortress. In appearance, Evgeny is several years older than Pushkin, not thin, wears a mustache, he is wearing a bolivar, a standing collar is visible. This hand-drawn image is clearly not similar to the Onegin, which is considered a classic. The drawing, according to the author's intention, was to become the basis of the portrait, which would be placed on the cover of the first chapter of the novel. So, he attached special importance to this image.

The prototype of the image of the protagonist in the novel "Eugene Onegin" isRussian poet, playwright, literary critic, translator, theater figure; MemberRussian Academy- Pavel Aleksandrovich Katenin.Guard colonel, participant in the hostilities in the Patriotic War of 1812, Decembrist Pavel Katenin hated Alexander I and participated in the development of plans for his assassination, was a member of the Union of Salvation. In the summer of 1817 he headed one of the two branches of the secret Military Society - an intermediate organization that operated between the Union of Salvation and the Union of Welfare. His song about freedom became the anthem of the Decembrists, for which he was dismissed in September 1820.

The friendship of Katenin and Pushkin was a good nourishment for the work of Alexander Sergeevich.

P.A. Katenin was famous for his quarrelsome character and broke with the Decembrists, so he did not go to Senate Square. He was expelled from St. Petersburg in 1822 and settled on his estate in the Kostroma province, where he led a lonely life, engaged in literary activities.

Pavel Alexandrovich Katenin

Another, even more famous prototype of Eugene Onegin is Pyotr Yakovlevich Chaadaev, a friend of Pushkin, mentioned by the poet in the first chapter of the novel. Onegin's story is reminiscent of Chaadaev's life.

Russian philosopher, publicist, P. Chaadaev was born in Moscow into a noble family. His maternal grandfather was the famous historian and publicist Prince M. M. Shcherbatov. After the early death of his parents, Chaadaev was raised by his aunt and uncle. In 1808, he entered Moscow University, where he became close to the writer A. S. Griboedov, the future Decembrists I. D. Yakushkin, N. I. Turgenev and other prominent figures of his time. In 1811 he left the university and joined the guards. Participated in the Patriotic War of 1812, in the foreign campaign of the Russian army. In 1814 he was admitted to the Masonic lodge in Krakow. Returning to Russia, Chaadaev continued his military service.

In 1816, in Tsarskoye Selo, Chaadaev met the lyceum student A.S. Pushkin and soon became a beloved friend and teacher of the young poet, whom he called "a graceful genius" and "our Dant." Three poems by Pushkin are dedicated to Chaadaev, his features are embodied in the image of Onegin. Pushkin characterized the personality of Chaadaev with the famous verses “To the Portrait of Chaadaev”:

"He is by the highest will of heaven

Born in the fetters of the royal service;

He would be Brutus in Rome, Pericles in Athens,

And here he is a hussar officer.

Constant communication between Pushkin and Chaadaev was interrupted in 1820 due to Pushkin's southern exile. However, correspondence and meetings continued throughout life. On October 19, 1836, Pushkin wrote a famous letter to Chaadaev, in which he argued with the views on the destiny of Russia, expressed by Chaadaev in the Philosophical Letter. For these letters, Chaadaev was officially declared insane and doomed to a hermitage in his house on Basmannaya Street, where he was visited by a doctor who reported monthly on his condition to the tsar. Chaadaev died in Moscow in 1856.

An important influence on the image of Onegin had Lord Byron and his "Byron Heroes", Don Juan and Childe Harold, who are also mentioned more than once by Pushkin himself.

Tatyana Larina - the prototype of Avdotya (Dunya) Norova, Chaadaev's girlfriend. Dunya herself is mentioned in the second chapter, and at the end of the last chapter, Pushkin expresses his grief over her untimely death. Due to the death of Dunya at the end of the novel, Anna Kern, Pushkin's lover, acts as the prototype of the princess, the matured and transformed Tatyana. She, Anna Kern, was the prototype of Anna Karenina. Although Leo Tolstoy wrote off the appearance of Anna Karenina from Pushkin's eldest daughter, Maria Hartung, the name and history are very close to Anna Kern. So, through the story of Anna Kern, Tolstoy's novel "Anna Karenina" is a continuation of the novel "Eugene Onegin".

Another contender for the role of the prototype of Tatyana Larina was N.D. Fonvizina, the widow of a Decembrist general, who spent many years in Siberian exile with her husband.N.P. Chulkov wrote: “Tanya Fonvizina calls herself because, in her opinion, Pushkin wrote his Tatyana Larina from her. Indeed, in her life there were many similarities with the heroine of Pushkin: in her youth she had an affair with a young man who refused her (though for other reasons than Onegin), then she married an elderly general who was passionately in love with her, and soon met with the former object of her love, who fell in love with her, but was rejected by her.

It is also assumed that Tatyana Larina in the modern society of Pushkin could have had another living prototype - a well-known society lady, a beauty - the wife of the Governor-General of Novorossia, Count M.S. Vorontsova - Elizaveta Ksaveryevna, followed by one of Pushkin's friends - also the prototype of Eugene Onegin. Countess Vorontsova E.K. - a dazzling master of flirting, loving the company of brilliant gentlemen, enchanted everyone. Her beauty, lightness and alluring inaccessibility turned the head of the young poet. She, according to this version, becomes the prototype of Tatyana Larina, whose sketches the enamored Pushkin makes in Gurzuf. Elizabeth reciprocates and gives the famous ring - "talisman". Pushkin's heart affairs are full of passions and experiences. The son of General Raevsky - Nikolai - is himself fascinated by the countess and helps Alexander Sergeevich in every possible way in arranging his meetings with Elizabeth ...

Vladimir Lensky- Wilhelm Kuchelbecker, Russian poet, writer and public figure, Pushkin's comrade at the Tsarskoye Selo Lyceum. “I’m definitely German by my father and mother, but not by language; - until the age of six I didn’t know a word of German, my natural language is Russian ...” This is how Wilhelm Karlovich Küchelbecker, a native of Estonia, wrote about himself. With the opening of the Lyceum, fate brought him together with Pushkin, Pushchin, Delvig, Malinovsky and other future celebrities. They loved Wilhelm, but at the same time they did not miss the opportunity to tease the lanky, deaf, stuttering, dreamy and very quick-tempered comrade.

No less recognizable characters act in the comedy of A. S. Griboyedov"Woe from Wit". Criticism most often associates the main character - Chatsky - with the name of Chaadaev (in the original version of the comedy, Griboedov wrote "Chadsky"), although it agrees that the image of Chatsky is least of all a portrait of a real person, it is a collective image, social type of era, a kind of "hero of time". If you remember, the author of the "Philosophical Letters" suffered an unprecedented and terrible punishment: he was declared insane by a royal decree. It so happened that the literary character did not repeat the fate of his prototype, but predicted it.

Orlovsky is the prototype of Chatsky (I. Yakushkin). Withthey read Yakushkin (Ivan Dmitrievich) - one of the outstanding Decembrists. Born November 1793

To create images of the main characters of the great novel"War and Peace" Leo Tolstoy used the stories of the fates of his contemporaries, their worldview, character traits, and appearance.

Yes, prototypes Andrei Bolkonskythere were several. His tragic death was "written off" by Tolstoy from the biography of the real Prince Golitsyn. Dmitry Nikolaevich Golitsyn was born in 1786, in the family of the aristocrat Nikolai Alekseevich Golitsyn, who spent most of his life at court and abroad, was ambassador to Sweden for 7 years, had the title of senator and the rank of privy councillor. He owned the Arkhangelsk estate near Moscow, where even the highest persons were received. Prince Dmitry was signed up for service in the Moscow archive of the Ministry of Justice. Soon, Emperor Alexander I granted him to the chamber junkers, and then to the actual chamberlains, which was equated to the rank of general. In 1805, Prince Golitsyn entered the military service and, together with the army, went through the campaigns of 1805-1807. During the Patriotic War of 1812, Golitsin participated in border battles as part of the 2nd Russian army of General Bagration, fought on the Shevardino redoubt, and then ended up on the left flank of the Russian orders on the Borodino field. Defended the Semyonov flushes. In one of the skirmishes, he was seriously wounded by a fragment of an enemy grenade. His brother-soldiers carried him from the battlefield. After the operation in the field infirmary, he was sent to Moscow to his parents' house. But they were already preparing to evacuate. The wounded, whose condition inspired great concern to the doctors, it was decided to take him to the safety of Nizhny Novgorod. We made a stop in Vladimir. Major Golitsyn was placed in one of the merchant houses on a steep hill on the Klyazma in the parish of the Ascension Church. September 22, almost a month after the Battle of Borodino, Dmitry Golitsyn died.

Tatyana Bers was the greatest love of the brother of the great writer Leo Tolstoy - Sergei, whom the future classic adored. How was it possible for Tolstoy to resist and not bring out Tanechka Bers in the image of his most charming heroine? Under his pen, an image was gradually born Natasha Rostova , a charming young creature, glowing from the inside with happiness and sincerity. The naturalness of manners, errors in French, the passionate desire for love and happiness inherent in the real Tatyana Bers, completed the image of Rostova.

Oddly enough, Nikolai Vasilievich Gogol managed to create an image of Ukraine and its people, without reproducing either real events or specific prototypes. In the story"Taras Bulba" Gogol poeticized the spiritual indissolubility of the individual and the people, thirsting for national and social freedom. According to Belinsky, the author "has exhausted the whole life of historical Little Russia and in a wondrous, artistic creation forever captured its spiritual image." However, the story is conceived so organically and vividly that the reader does not leave the feeling of its reality. Indeed, Taras Bulba could have had a prototype. At least there was a person whose fate is similar to the fate of the protagonist. And this man also bore the surname Gogol. Ostap Gogol was born at the beginning of the 17th century, possibly in the Podolsk village of Gogol, founded by an Orthodox gentry from Volhynia, Nikita Gogol. On the eve of 1648, he was a captain of the "panzer" Cossacks in the Polish army. At the beginning of 1654, he began to command the Podolsky regiment. In July 1659, Gogol's regiment took part in the defeat of the Muscovites near Konotop.

In 1664, an uprising broke out in Right-Bank Ukraine against the Poles and Hetman Teteri. Gogol supported the rebels, but then, as it happened more than once, he again went over to the side of the enemy. The reason for this was his sons, whom Hetman Potocki held hostage in Lvov.

At the end of 1971, the Crown Hetman Sobieski took Mogilev, Gogol's residence. During the defense of the fortress, one of the sons of Ostap died. The colonel himself fled to Moldavia and from there sent Sobieski a letter of his desire to obey. As a reward for this, Ostap received the village of Vilkhovets. The letter of salary of the estate served the grandfather of the writer Nikolai Gogol as evidence of his nobility. Colonel Gogol became hetman of the Right-Bank Ukraine. He died in 1979 at his residence in Dymer, and was buried in the Kiev-Mezhigorsky monastery near Kyiv.

As you can see, the analogy with the story is obvious: both heroes are Zaporozhye colonels, both had sons, one of whom died at the hands of the Poles, the other went over to the side of the enemy. Thus, the writer's distant ancestor most likely was the prototype of Taras Bulba.

"Two captains"

Russian Soviet writers also closely followed the events of the present. Veniamin Kaverin spoke about the prototype of his hero as follows: “He was a man in whom ardor was combined with straightforwardness, and perseverance with an amazing definiteness of purpose. He knew how to achieve success in any business. A clear mind and the ability for deep feelings were visible in his every judgment ". The writer met Georgy Lvovich Brusilov for the first time in 1932, when the scientist was preparing his Ph.D. thesis for defense. The details of his biography are very clearly written out in the novel, but the prototype itself never aspired to the glory of a hero. Even the son of Brusilov, reading the novel "Two Captains" in childhood, did not compare its plot with the fate of his father. Brusilov, leader of the expedition on the "St. Anna" (the prototype of the ship "St. Maria") - the prototype of the famous polar explorer Sedov. The prototype of the Sledge is the famous polar pilot Sigismund Aleksandrovich Levanevsky, one of the first Heroes of the Soviet Union. He died on August 12, 1937, when he flew from the USSR to the USA across the North Pole on a four-engine bomber H - 409. After 20 hours of flight, communication with the crew was cut off. In search of H - 409, 24 aircraft and one airship were thrown, but all efforts were in vain. The airship eventually crashed, and the rescuers on board were killed.

I have given only a few episodes of the results of my research.

Determining the prototypes of certain EO characters occupied both contemporary readers and researchers. In the memoirs and scientific literature, quite extensive material has accumulated, devoted to attempts to connect the heroes of Pushkin's novel with one or another real person. A critical review of these materials makes one extremely skeptical about the degree of their reliability and the very fruitfulness of such searches.
It is one thing when an artistic image contains a hint of some real person and the author expects that this hint will be understood by the reader. In this case, such a reference is the subject of study of the history of literature. Another thing is when it comes to an unconscious impulse or a hidden creative process that is not addressed to the reader. Here we enter the realm of the psychology of creativity. The nature of these phenomena is different, but both of them are associated with the specifics of the creative thinking of a particular writer. Therefore, before looking for prototypes, you should find out, firstly,

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Firstly, whether it was part of the writer's artistic plan to connect his hero in the minds of the readership with any real persons, whether he wanted this or that person to be recognized in his hero. Secondly, it is necessary to establish to what extent it is typical for a given writer to proceed in his work from specific individuals. Thus, the analysis of the principles of constructing a literary text should dominate the problem of prototypes.
This decisively contradicts the naive (and sometimes petty-bourgeois) idea of ​​the writer as a spy who "prints" his acquaintances. Unfortunately, it is precisely this view of the creative process that is reflected in a huge number of memoirs. Let us give a typical example - an excerpt from the memoirs of M. I. Osipova: “What do you think, what did we often treat him to? Soaked apples, but they actually ended up in Onegin; Akulina Amfilovna lived with us at that time as a housekeeper - a terrible grumbler. , bring pickled apples, "- and she will grumble. Here Pushkin once said to her jokingly: “Akulina Pamfilovna, come on, don’t be angry! Tomorrow I will make you into a priest. ” And exactly, under her name - almost in “The Captain’s Daughter” - he brought out a priest; and in my honor, if you want to know, the heroine of this story herself is named ... We had a barman Pimen Ilyich - and he got into the story ”(Pushkin in the memoirs of his contemporaries. T. 1. P. 424). A. N. Wulf wrote in his diary in 1833: “... I was even a character in the descriptions of Onegin’s village life, because it was all taken from Pushkin’s stay with us,“ in the province of Pskov. ”So I, a student from Dorpat, appeared in the form of Goettingen under the name of Lensky; my dear sisters are examples of his village young ladies, and almost Tatyana is one of them "(Ibid., p. 421). From the memoirs of E. E. Sinitsina:" A few years later I met in Torzhok near Lvov A. P. Kern, already an elderly woman... Then they told me that this was Pushkin's heroine - Tatyana.
...and all above
Raised his nose and shoulders
The general who entered with her.
These verses, they told me at the same time, were written about her husband, Kern, who was elderly when he married her ”(Ibid., vol. 2, p. 83).
These statements are just as easy to multiply as to show their groundlessness, exaggeration or chronological impossibility. However, the essence of the issue is not in the refutation of one or another of the numerous versions, then repeatedly multiplied in pseudo-scientific literature, but in the very need to give the images of EO a flat-biographical interpretation, explaining them as simple portraits of the author’s real acquaintances. At the same time, the question of the creative psychology of P, the artistic laws of his text and the ways of forming images is completely ignored. Such an unskilled, but very stable representation, feeding a petty-bourgeois interest in the details of a biography and forcing one to see in creativity only a chain

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devoid of piquancy of intimate details, makes us recall the words of P himself, who wrote to Vyazemsky in connection with the loss of Byron's notes: “We know Byron enough. They saw him on the throne of glory, they saw him in the torment of a great soul, they saw him in a coffin in the middle of resurrecting Greece. - Hunt you to see him on the ship. The crowd eagerly reads confessions, notes, etc., because in their meanness they rejoice at the humiliation of the high, the weaknesses of the mighty. At the discovery of any abomination, she is delighted. He is small like us, he is vile like us! You lie, scoundrels: he is both small and vile - not like you - otherwise ”(XIII, -).
We could not talk about this if the real and scientifically-biographical question of the prototypes of Pushkin's images were not too often replaced by speculation about which of his acquaintances P "pasted" into the novel.
Echoes of excessive "biography" in the understanding of creative processes are felt even in quite serious and interesting studies, such as a number of searches in a special issue of Pushkin's almanac "Prometheus" (T. 10. M., 1974). The problem of the prototypes of Pushkin's novel is often treated with unjustified attention in useful popular publications.
In this regard, one can disregard arguments like: “Did Tatyana Larina have a real prototype? For many years, Pushkin scientists did not come to a unified decision. In the image of Tatyana, the traits of not one, but many of Pushkin's contemporaries were embodied. Perhaps we owe the birth of this image to both the black-eyed beauty Maria Volkonskaya and the pensive Eupraxia Wulf...
But many researchers agree on one thing: in the guise of Princess Tatyana there are features of a countess, whom Pushkin recalls in “The House in Kolomna”. Young Pushkin, living in Kolomna, met a young beautiful countess in a church on Pokrovskaya Square ... ”(Rakov Yu. In the Footsteps of Literary Heroes, Moscow, 1974, p. 32. I would only like to note that on the basis of such quotations, an uninformed reader may get a completely wrong impression about the concerns and activities of "Pushkin scientists."
Speaking about the problem of prototypes of the heroes of Pushkin's novel, first of all, one should note a significant difference from this point of view in the principles of constructing central and peripheral characters. The central images of the novel, which carry the main artistic load, are the creation of the author's creative imagination. Of course, the poet's imagination rests on the reality of the impression. However, at the same time, it molds a new world, remelting, shifting and reshaping life impressions, putting in its imagination people in situations in which real life denied them, and freely combining features that are scattered in reality in various, sometimes very distant characters. The poet can see in very different people (even
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1 A peculiar limit of this approach was B. Ivanov's novel "The Distance of a Free Romance" (Moscow, 1959), in which P is presented in the guise of an immodest newspaper reporter, bringing the most intimate aspects of the life of real people to the public.

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people of different sexes 1) one person or several different people in one person. This is especially important for typification in EO, where the author deliberately builds the characters of the central characters as complex and endowed with contradictory features. In this case, one can speak of prototypes only with great caution, always keeping in mind the approximate nature of such statements. So, P himself, having met in Odessa a kind, secular, but empty fellow, his distant relative M. D. Buturlin, whom his parents protected from a “dangerous” acquaintance with the disgraced poet, used to say to him: “My Onegin (he just started it then write), it’s you, cousin” (Buturlin, p. 15). Nevertheless, these words mean nothing or little, and in the image of Onegin one can find dozens of rapprochements with various contemporaries of the poet - from empty secular acquaintances to such significant persons for P as Chaadaev or Alexander Raevsky. The same should be said about Tatyana.
The image of Lensky is located somewhat closer to the periphery of the novel, and in this sense it may seem that the search for certain prototypes is more justified here. However, the energetic rapprochement between Lensky and Kuchelbecker, made by Yu. N. Tynyanov (Pushkin and his contemporaries, pp. 233-294), is the best evidence that attempts to give the romantic poet in EO a certain unified and unambiguous prototype do not lead to convincing results. .
The literary background is built differently in the novel (especially at the beginning of it): in an effort to surround his characters with some real, rather than conditional literary space, P introduces them into a world filled with faces personally known to him and to readers. It was the same path followed by Griboedov, who surrounded his heroes with a crowd of characters with transparent prototypes.
The nature of the reader's artistic experiences, following the fate of a fictional hero or recognizing in a character a slightly made-up acquaintance of his, is very different. It was important for the author of EO, as well as for the author of Woe from Wit, to mix these two types of reader's perception. It was it that constituted that two-pronged formula of the illusion of reality, which simultaneously determined the consciousness that the characters were the fruits of the author's creative imagination, and faith in their reality. Such poetics made it possible in some places of the novel to emphasize that the fate of the characters, their future depend entirely on the arbitrariness of the author ("I was already thinking about the form of the plan" - 1, LX, 1), and in others -
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1 In this sense, more than speculation about which of the young ladies he knew “portrayed” by P in Tatyana, Kuchelbecker’s paradoxical but deep words can give: “The poet in his 8th chapter looks like Tatyana himself. For his lyceum comrade, for the person who grew up with him and knows him by heart, like me, the feeling with which Pushkin is overwhelmed is noticeable everywhere, although he, like his Tatyana, does not want the world to know about this feeling ”(Küchelbeker-1 pp. 99-100). The prototype of Tatyana of the eighth chapter was considered by the subtle, although prone to paradoxes, who knew the author closely ... Pushkin himself! N. I. Mordovchenko pointed out the insight of this statement (see: Mordovchenko N. I. “Eugene Onegin” - an encyclopedia of Russian life // TASS Press Bureau, 1949, No. 59).

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represent them as his acquaintances, whose fate he knows from conversations during personal meetings and whose letters accidentally fell into his hands ("Tatyana's letter is in front of me" - 3, XXXI, /). But in order for such a game between conventionality and reality to become possible, the author had to clearly distinguish between the methods of typification of heroes, which are the creation of the author's creative imagination, and heroes - conditional masks of real faces. A real person as the initial impulse of the author's thought could exist in both cases. But in one thing - the reader does not care about him, and in the other - the reader had to recognize him and constantly have him before his eyes.
In the light of what has been said, the final verses of the novel should also be understood:
And the one with whom he was educated
Tatyana's dear Ideal...
Oh, a lot, a lot Rock took away! (8, LI, 6-8).
Is it necessary to assume here that the author let it slip against his will, and, seizing on this evidence, to start an investigation into the case of hidden love, or to assume that the slip is part of the author's conscious calculation, that the author did not slip, but "as if slipped"? wanting to arouse certain associations in the reader? Are these poems part of the poet's biography or part of the artistic whole EO?
Breaking off the novel, as it were, in mid-sentence, P psychologically completed it with an address by the time work began on the first chapter, resurrecting the atmosphere of those years. Such an appeal echoed not only the work of P of the southern period, but was also contrasted with the beginning of the eighth chapter, where the theme of the evolution of the author and his poetry was revealed. The development of this thought - a direct contrast between the "high-flown dreams" of the romantic period and the "prosaic nonsense" of mature creativity - the reader found in "Excerpts from Onegin's Journey", compositionally located after the final stanzas of the eighth chapter and, as it were, introducing corrections into these stanzas. The reader received, as it were, two options for the outcome of the author's thought: the conclusion of the eighth chapter (and the novel as a whole) affirmed the enduring value of life experience and creativity of early youth - the "journey" said the opposite:
Other pictures I need: I love the sandy slope,
There are two rowan trees in front of the hut, A gate, a broken fence, Gray clouds in the sky, Heaps of straw in front of the threshing floor... (VI, 200)
These provisions did not cancel one another and were not a mutual refutation, but threw a mutual additional semantic reflection. Such a dialogic correlation also concerns the issue of interest to us: at the end of the eighth chapter, the myth of hidden love, so important for the “southern” creativity, was restored - one of the main components of the life posture of a romantic poet (“and the one with which he was educated ...”).

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The reader did not have to make an effort to recall the allusions to "nameless love" scattered in Pushkin's work of the romantic period. The phantom of this love, resurrected at the end of the novel with all the power of lyricism, encountered ironic lines about “nameless sufferings” in the “journey”, evaluated as “pompous dreams” (VI, 2W).
We do not know whether P meant a real woman in the last stanza of the novel or is it a poetic fiction: to understand the image of Tatyana, this is absolutely indifferent, but to comprehend this stanza, it is enough to know that the author found it necessary to recall the romantic cult of hidden love.
Precisely because the main characters of EO did not have direct prototypes in life, they became exceptionally easy for contemporaries to become psychological standards: comparing themselves or their loved ones with the heroes of the novel became a means of explaining oneself and their characters. The author himself set an example in this regard: in the conventional language of conversations and correspondence with A.N. P. Creativity of A. S. Pushkin in the 1830s (1830-1833), L., 1974, p. 74). Following this conditional usage, A. Raevsky wrote to P: “... now I will tell you about Tatyana. She took the liveliest part in your misfortune; she instructed me to tell you about it, I am writing to you with her consent. Her gentle and kind soul sees only the injustice of which you have become a victim; she expressed this to me with all the sensitivity and grace inherent in the character of Tatiana ”(XIII, 106 and 530). Obviously, this is not about the prototype of Tatyana Larina, but about transferring the image of the novel to life. A similar example is the name Tanya, under which N. D. Fonvizina appears in the letters of I. I. Pushchin to her and in her own letters to him. N. P. Chulkov wrote: “Tanya Fonvizina calls herself because, in her opinion, Pushkin wrote his Tatyana Larina from her. Indeed, in her life there were many similarities with the heroine of Pushkin: in her youth she had an affair with a young man who refused her (though for other reasons than Onegin), then she married an elderly general who was passionately in love with her, and soon met with the former object of her love, who fell in love with her, but was rejected by her ”(Decembrists // State Literary Museum. Chronicles. Book III. M., 1938. P. 364).
The abundance of "applications" of the images of Tatyana and Onegin to real people shows that complex currents of communication went not only from real human destinies to the novel, but also from the novel to life.
It is impossible to exhaust Onegin's text. No matter how detailed we dwell on political allusions, meaningful omissions, everyday realities or literary associations, commenting on which clarifies various aspects of the meaning of Pushkin's lines, there is always room for new questions and for searching for answers to them. The point here is not only the incompleteness of our knowledge, although the more you work on bringing the text closer to the modern reader, the more sadly

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you are convinced of how much is forgotten, and partially forgotten irrevocably. The fact is that a literary work, as long as it directly excites the reader, is alive, that is, changeable. Its dynamic development has not stopped, and for each generation of readers it turns into some new facet. It follows from this that each new generation turns to the work with new questions, revealing riddles where before everything seemed clear. There are two sides to this process. On the one hand, readers of new generations forget more, and therefore what was previously understood becomes obscure for them. But on the other hand, new generations, enriched with historical experience, sometimes bought at a heavy price, understand the familiar lines more deeply. It would seem that the verses read and memorized for them suddenly open up to previously incomprehensible depths. The understandable turns into a riddle because the reader has acquired a new and deeper view of the world and literature. And new questions are waiting for a new commentator. Therefore, a living work of art cannot be commented “to the end”, just as it cannot be explained “to the end” in any literary work.
In the novel by L. N. Tolstoy “The Decembrists”, a Decembrist who returned from Siberia, comparing her old husband with her son, says: “Seryozha is younger in feelings, but in soul you are younger than him. What he will do I can foresee, but you can still surprise me.” This can be applied to many novels written after Eugene Onegin. What they will "do" we can often foresee, but Pushkin's novel in verse "can still surprise us." And then new comments are required.

Introduction

Requirements for the structural elements of the explanatory note

Bibliography.

Conclusions.

Preliminary design.

Project concept. (Justification of the creative decision made)

Analysis of fashion trends, colors, materials, fashion figure.

Analysis of historical and modern prototypes, analogues of creative sources.

Introduction.

The structure of the explanatory note

The explanatory note contains the following sections:

Text: 1p.

Text: 2-5 pages

Illustrations: 2-5 pages

Text: 2 pages

Illustrations: 2-5 pages

Text: 1p.

Sketches in the amount of 5 sheets.

6. Photoshoot.

Photos in the amount of at least 5 sheets.

At least 10 sources.

The introduction indicates the goals and objectives of the diploma design, taking into account the priorities of the development of design and fashion, the specifics of creative activity in the field of design; justifies the choice of topic, determined by its relevance; problems and a range of issues necessary for their solution are formed; objects of study are indicated.

When performing research work, the introduction indicates its relevance, the object and purpose of the study, research methods, novelty, practical significance and the possibility of implementing this proposal.

The substantiation of the theme of the graduation project is related to its relevance, i.e. the needs are determined, for the satisfaction of which the design of a new collection of costumes, photo shoots, video sequences and printed products is undertaken in accordance with the chosen topic.

- relevance

(An analysis of the situation in the field of research based on literary and other sources allows us to conclude that a number of issues have not been sufficiently studied, and the timely completion of research will eliminate these gaps. The completed development allows us to solve a demanded practical problem based on the new data obtained in the work)

- goals and objectives of the study;

(“develop”, “justification of the creative decision”, “analyze”, “identify”, etc.)

-practical and scientific significance;

(2-3 sentences about the use or practical application of the results of research and development of the project.)

- project development novelty

(Using new methods, technologies, etc.)

Description, research and analysis of historical and modern prototypes, analogues of creative sources that are directly used in the development of the project.

Any works of art, historical and contemporary events, all kinds of elements of the natural environment, various types and objects of culture, art, science, retro fashion, etc. can serve as creative sources for creating a collection of clothes. Accurate definition of creative sources allows you to clearly project the obvious visual features of the sample onto the designed elements (color, composition, plastic, decor or construction), to achieve expressiveness of the image.

An analysis of prototypes (projects similar to those being designed for some homogeneous characteristics and conditions of use) or analogues allows you to identify the advantages and disadvantages of existing projects and is carried out according to the following indicators:

aesthetic

socio-economic

Functional (methods of use)

Technological (materials and possible manufacturing methods)

3. Analysis of fashion trends: shapes, colors, materials used, patterns, decor.

Analysis of fashion trends, colors, materials, fashionable figure, which formed the basis of the graduation project.

This part of the section is designed to demonstrate a student's holistic view of history and modernity, patterns and options for the development of fashion.

Designing new clothes is impossible without an analysis of the styles and trends of modern fashion, its key trends, shaping, a palette of fashionable colors, patterns and textures of materials, and decor that dictate changes in design.

In the study of modern fashion, lengthy expositions should be avoided and the focus should be on characterizing the general trend. It is important to indicate trends that emphasize the relevance of the chosen topic of the course project.

The illustrative material of the section should clearly and specifically reflect the selected fashion trends.

4. The concept of the project.(Justification of the creative decision made)

The substantiation of the accepted creative decision, the optimality of the design task, is built taking into account psychological and social conditions, determining the purpose, expediency and functions, conditions for their operation, technological requirements, economic prerequisites. Design decision - the choice of design method, materials, colors, range of models, taking into account the choice of theme and fashion direction.

The idea of ​​the project, the image of the project, the connection with modernity, ways of processing and transforming the creative source.

Artistic design is a creative process of creating an integral system of things that reflects modern cultural trends. The task of artistic design is to search for links between the objective world as a whole and the designed products.

The results of the pre-project analysis carried out are rethought, synthesized, structured and implemented in specific methods of shaping. In the process of information processing, a creative concept is formulated - the main idea, the semantic orientation of goals, tasks and design tools, interpreted in the form of an artistic image. It is important that in the course of the synthesis of pre-project studies, own thoughts, different from analogues, are born.

The section reflects the sequence of artistic design of the collection, the search for unity of form and content, reflects the style features and range of the collection.

Artistic image - one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art. Literary type - (type of hero) - a set of characters who are close in their social status or occupation, worldview and spiritual appearance. Such characters can be represented in various works by the same or several writers. Literary types are a reflection of the tendencies of the spiritual development of society, worldview, philosophical, moral and aesthetic views of the writers themselves.

Basic moments:

1) hyperbolicity

2) emotionality

3) typicality (uniqueness)

H.o. binomial, 2 plans intersect in it: subject and semantic (implied, hidden).

There are 2 classifications of the artistic image:

1) objective (society - man - nature) - through a portrait, characters, they are also concrete (tangible). The image of the author above them.

Nature - interior, exterior, things surrounding the hero, details: a scarf, etc.

Society - environment, people, family, world (like the Universe ...)

For the Ancients: Man is part of a choir

2) generalized semantic - allegory, symbol, myth, archetype (collective-unconscious)

The archetype is the oldest symbol generated by the archaic collective consciousness. It is an image passed down from generation to generation. Example: the image of the prodigal son, Cain and Abel, Faust.

1) the archetype of a wise old man;

3) road.

Internal the structure of images can arise:

1) from internal O

2) due to comparisons

3) opposition or comparison

Two ways to create images:

1) giving;

2) observation;

3) associations

I. Hud image is a purely speech phenomenon

II. Hood. image - a system of specific feelings of details that embody the content

The image is a complex interrelation of details, it is tangible, plastic, has a specific form. In x.o. something artistically new, possessing artistic capacity, is being created.

The most common definition of H.O. is a subjective reflection of the objective world.

Term (from Latin terminus - limit, border) - a word or phrase that accurately and unambiguously names a concept and its relationship with other concepts within a special sphere. Terms serve as specializing, restrictive designations characteristic of this sphere of objects, phenomena, their properties and relationships. In contrast to the words of the general vocabulary, which are often polysemantic and carry an emotional coloring, the terms within the scope of application are unambiguous and lack expression.

Terms exist within the framework of a certain terminology, that is, they are included in a specific lexical system of a language, but only through a specific terminological system. Unlike common language words, terms are not related to context. Within this system of concepts, the term should ideally be unambiguous, systematic, stylistically neutral (for example, "phoneme", "sine", "surplus value").

Time and space in fiction. The concept of a chronotope.

Spatio-temporal organization of a literary work - chronotope.

Under the chronotope of M.M. Bakhtin understands "the essential interconnection of temporal and spatial relations".

In literary works, images of time and space are separately distinguished:

Daily

calendar

Biographical

historical

space

Space:

Closed

open

remote

Detailed (subject rich)

Really visible

Represented

space

In addition, both time and space single out the concrete and the abstract. If time is abstract, then space is also abstract, and vice versa.

According to Bakhtin, the chronotope is, first of all, an attribute of the novel. It has plot value. The chronotope is the structural support of the genre.

Types of private chronotopes according to Bakhtin:

The chronotope of the road is based on the motif of a chance meeting. The appearance of this motif in the text can cause a plot. Open space.

The chronotope of a private salon is not an accidental meeting. Closed space.

Chronotope of the castle (it does not exist in Russian literature). The dominance of the historical, generic past. Limited space.

The chronotope of the estate (not Bakhtin) is a concentric, unprincipled closed space.

The chronotope of a provincial town is an eventless time, a closed space, self-sufficient, living its own life. Time is cyclic, but not sacred.

Threshold chronotype (crisis consciousness, fracture). There is no biography as such, only moments.

Large chronotope:

Folklore (idyllic). Based on the law of inversion.

Modern chronotope trends:

Mythologization and symbolization

Doubling

Accessing the character's memory

Reinforcing Mounting Meaning

Time itself becomes the hero of the story

Time and space are the integral coordinates of the world.

The chronotope determines the artistic unity of a literary work in its relation to reality

Organizes the space of the work, leads readers into it

Can relate to different space and time

Can build a chain of associations in the mind of the reader and, on this basis, connect works with the idea of ​​the world and expand

Artistic invention. Image and prototype. Autobiography.

Fiction - events, characters, circumstances depicted in fiction that do not actually exist. In the 4th century, Aristotle, in his treatise Poetics, argued that the main difference between literary works and historical works is that historians write about those events that happened in reality, and writers write about those that could happen. In the literature, the boundaries between HV and reliability are conventionally delineated and fluid. CW is a general category of artistic creativity, a means and form of mastering life by art (an element or part of a work that has an independent meaning).

The prototype is a real-life person, whose features the author endowed the character of the work with. Correlation between the hero and the prototype: 1. The similarity is significant, necessary to understand the meaning of the work, in this case the author himself indicates the degree of recognition of the character. 2. The author can assign the features of the prototype to the character, but at the same time the literary hero should not be perceived as a double of a real person.

Autobiography is a reflection in a literary work of events from the life of the author, closeness with the hero.

14. The form of a work of art. Components.

A work of art is not a natural phenomenon, but a cultural one, which means that it is based on a spiritual principle, which, in order to exist and be perceived, must certainly acquire some material embodiment, a way of existing in a system of material signs. Hence the naturalness of defining the boundaries of form and content in a work: the spiritual principle is the content, and its material embodiment is the form. The form of a work of art has two main functions. The first is carried out within the artistic whole, so it can be called internal: it is a function of expressing content.

The second function is found in the impact of the work on the reader, so it can be called external (in relation to the work). It consists in the fact that the form has an aesthetic impact on the reader, because the form acts as a bearer of the aesthetic qualities of a work of art. The most common classification of the elements of the artistic form of a work is composition, determined by the content. The plot is the main element of the composition: plot elements, exposition, plot, development, climax, denouement, prologue, epilogue. The main characters, their portraits, characters.