Characteristics of the concept of "lyrical hero"

lyrical poetic intonation timbre

A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social activities, and people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works. The lyrical hero reflects certain characteristic features of the people of his time, his class, exerting a huge influence on the formation of the reader's spiritual world.

The lyrical hero is an important concept regarding the image of a person in lyrical works. The question of the content and boundaries of this concept, of how justified the use of the term "lyrical hero" in the analysis of lyrical poems, causes controversy among literary theorists.

Meanwhile, in recent decades, it is customary to call a lyrical hero a person on whose behalf a poem is written. As a rule, the inner world of this particular person, his ideas about life are revealed in a lyrical work. The lyrical hero, in this sense, is the image of a person created in a lyrical work, regardless of whether this person coincides with the author of the poem or, on the contrary, differs from him. In this case, the lyrical hero is identified with the subject of the utterance in the lyrical work, that is, with the lyrical subject. Therefore, instead of the term "lyrical hero", you can use words that indicate the ownership of thoughts, feelings, moods expressed in the poem: "poet", "author". One can simply say that, for example, in the poem "I visited again ..." it is Pushkin, and not the "lyrical hero", who owns thoughts about the future, about the "young, unfamiliar" tribe, but in Nekrasov's poem "Reflections at the front door" it is the author of the poem himself who addresses the Russian people with bitter words.

Pushkin, Nekrasov, Tyutchev are lyric poets without a lyrical hero. The author's image in their lyrical works is, as it were, merged with their real personality - the personality of the poet himself. It is inappropriate to call this image a lyrical hero, because the lyrical hero, as the researcher L. Ya. Ginzburg accurately noted, “is always a reflection that has separated from the reflected.” One should speak of a lyrical hero when, in a poem written in the first person, the lyrical subject differs to one degree or another from the poet, the author of the poem. Variants of such a mismatch can be different. Sometimes poets themselves emphasize the moments of discrepancy between the "I" of the poet and the "I" of the person they write about. The poet, as it were, gets used to a role that is alien or alien to him, puts on a “lyrical mask”. Sometimes the differences are not so obvious. For example, the spiritual world of the author, his inner experience, which is the basis of a lyrical work, may turn out to be only a part of the spiritual world of a group of people, contemporaries.

It is worth noting that the term "lyrical hero" was first used by Yu. N. Tynyanov in the article "Block" in 1921. He discovered a discrepancy between Blok's biography and personality and the image of a person created in his poems. The researcher pointed out an important feature inherent in the lyrics of many poets of the "Silver Age". The lyrical hero appears not only in Blok's poetry, which is based on the myth of the "path", created by the poet himself over many years. The presence of a lyrical hero is the most important feature of the poetry of Andrei Bely, Fyodor Sologub, Valery Bryusov, Nikolai Gumilyov, Anna Akhmatova, S. Yesenin and other poets of the early twentieth century.

Often the term "lyrical hero" is used in the analysis of epic works, most often poems. Some literary scholars even speak of a "lyrical hero" in "Eugene Onegin" and in "Dead Souls". Probably, in these cases, either the author is meant, whose voice is openly heard in the work, or the concept of "lyrical hero" replaces others - "autobiographical hero", "image of the author". Such a replacement is not justified by anything, since the “lyrical hero” is the “hero” of a lyrical work. It is wrong to identify lyrics as a kind of literature and lyricism as a special kind of subjectivity, openness, a set of moods and experiences expressed in the text.

Thus, the lyrical hero, as a rule, does not have existential features: a portrait, he does not have a name, age, it is not even clear what gender he belongs to - male or female. The lyrical hero almost always exists outside of time and space: his experiences, feelings, emotions flow "always" and "everywhere".

At first glance, both the image, and the character, and the literary type, and the lyrical hero are the same concepts, or at least very similar. Let's try to understand the vicissitudes of the meanings of the concepts under study.

Image- this is an artistic generalization of human properties, character traits in the individual appearance of the hero. The image is an artistic category that we can evaluate from the point of view of the author's skill: one cannot despise the image of Plyushkin, since it causes admiration for Gogol's skill, one can not love the type of Plyushkin.

concept "character" wider concept of "image". A character is any protagonist of a work, therefore it is wrong to replace the concepts of “image” or “lyrical hero” with this concept. But we note that in relation to the secondary persons of the work, we can only use this concept. Sometimes you can come across the following definition: a character is a person who does not influence the event, is not important in revealing the main problems and ideological conflicts.

Lyrical hero- the image of the hero in a lyrical work, experiences, thoughts, whose feelings reflect the author's worldview; it is the artistic "double" of the author, which has its own inner world, its own destiny. This is not an autobiographical image, although it embodies the spiritual world of the author. For example, the lyrical hero M.Yu. Lermontov is the "son of suffering", disappointed in reality, romantic, lonely, constantly looking for freedom.

literary type- this is a generalized image of human individuality, the most possible, characteristic, for a certain social environment at a certain time. The literary type is the unity of the individual and the typical, and “typical” is not a synonym for “average”: the type always incorporates all the brightest features characteristic of a particular group of people. The apogee of the author's skill in developing the type is the transition of the type to the category of common nouns (Manilov is a common noun for an idle dreamer, Nozdrev is a liar and a braggart, etc.).

Often we come across another concept - character. Character is a human individuality, consisting of certain mental, moral, mental traits; it is the unity of emotional reaction, temperament, will, and the type of behavior determined by the socio-historical situation and time. In each character there is a dominant feature that gives a living unity to the whole variety of qualities and properties.

Thus, when characterizing a hero, it is very important not to forget the differences discussed above.

Good luck in characterizing your favorite literary characters!

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Image lyrical hero is created on the basis of the poet's life experience, his feelings, sensations, expectations, etc., fixed in the work in an artistically transformed form. However, the complete identification of the personality of the poet himself and his lyrical hero is unlawful: not everything that the “biography” of the lyrical hero includes, actually happened with the poet himself. For example, in a poem by M.Yu. Lermontov's "Dream", the lyrical hero sees himself mortally wounded in the valley of Dagestan. This fact does not correspond to the empirical biography of the poet himself, but the prophetic nature of the "sleep" is obvious (the poem was written in 1841, the year of Lermontov's death):

The term "lyrical hero" was introduced by Yu.N. Tynyanov 1 in 1921, and it is understood as the bearer of the experience expressed in the lyrics. “The lyrical hero is the artistic “double” of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyrical poem, the entirety of lyrics) as a clearly defined figure or life role, as a person endowed with certainty, individuality of fate, psychological distinctness of the inner peace" 2 .

The lyrical hero is not present in all the works of the lyric poet, and the lyrical hero cannot be judged by one poem, the idea of ​​​​the lyrical hero is made up of a cycle of poems by the poet or of his entire poetic work. This is a special form of expression of the author's consciousness 3:

1. The lyrical hero is both the bearer of speech and the subject of the image. He openly stands between the reader and the depicted world; we can judge the lyrical hero by what is close to him, what he rebels against, how he perceives the world and his role in the world, etc.
2. The lyrical hero is characterized by an internal ideological and psychological unity; in different poems a single human personality is revealed in its relation to the world and to itself.
3. Biographical unity can be combined with the unity of the internal appearance. In this case, different poems can be combined into episodes of the life of a certain person.

The certainty of a lyrical hero is characteristic, for example, of the poetry of M.Yu. Lermontov (who owns the discovery of the lyrical hero in Russian literature, although the term itself appeared in the 20th century), N.A. Nekrasov, V. Mayakovsky, S. Yesenin, A. Akhmatova, M. Tsvetaeva, V. Vysotsky ... From their lyrical works grows the image of a person who is whole, outlined both psychologically, and biographically, and emotionally, with her characteristic reactions to events in world, etc.

At the same time, there are lyrical systems in which the lyrical hero does not come to the fore, we cannot say anything definite either about his psychology, or about his biography, or about the emotional world. In such lyrical systems, "between the poetic world and the reader in the direct perception of the work there is no personality as the main subject of the image or a sharply perceptible prism through which reality is refracted" 4 . In this case, it is customary to talk not about the lyrical hero, but about the poetic world of this or that poet. A typical example is the work of A.A. Fet with his special poetic vision of the world. Fet constantly speaks in lyrics about his attitude to the world, about his love, about his suffering, about his perception of nature; he widely uses the personal pronoun of the first person singular: more than forty of his works begin with "I". However, this “I” is not the lyrical hero of Fet: he has neither external, biographical, nor internal certainty that allows us to speak of him as a kind of personality. The lyrical "I" of the poet is a view of the world, essentially abstracted from a specific personality. Therefore, perceiving Fet's poetry, we pay attention not to the person depicted in it, but to a special poetic world. In the poetic world of Fet, the center is a feeling, not a thought. Fet is interested not so much in people as in their feelings, as if abstracted from people. Depicted certain psychological situations and emotional states in their general terms - outside the special warehouse of the personality. But the feelings in Fet's poems are special: vague, indefinite. To reproduce such a vague, barely perceptible inner world, Fet resorts to a complex system of poetic means, which, with all their diversity, have a common function - the function of creating a shaky, indefinite, elusive mood.

The lyrical hero in poetry, although he does not completely coincide with the author's "I", is accompanied by a special sincerity, confession, "documentary" lyrical experience, self-observation and confession prevail over fiction. The lyrical hero, and not without reason, is usually perceived as an image of the poet himself - a really existing person.

However, in the lyrical hero (with all his obvious autobiography and autopsychologism), we are attracted not so much by his personal uniqueness, but by his personal fate. No matter how biographical, psychological certainty the lyrical hero possesses, his “fate” is of interest to us primarily for its typicality, universality, reflection of the common destinies of the era and all of humanity. Therefore, the remark of L.Ya. Ginzburg about the universality of lyrics: “... lyrics have their own paradox. The most subjective kind of literature, it, like no other, strives for the general, for the depiction of spiritual life as universal ... if the lyric creates character, then it is not so much “private”, individual, as epochal, historical; that typical image of a contemporary, which is developed by large movements of culture” 5 .

LYRICAL HERO - one of the forms of manifestation of the author's consciousness in a lyrical work; the image of the poet in the lyrics, expressing his thoughts and feelings, but not reducible to his worldly personality; the subject of speech and experience, at the same time being the main object of the image in the work, its ideological, thematic and compositional center. The lyrical hero has a certain worldview and an individual inner world. In addition to emotional and psychological unity, he can be endowed with a biography and even features of appearance.
Author- is 1) the creator (creator) of a work of literature; the subject of artistic and literary activity, whose ideas about the world and man are reflected in the entire structure of the work he creates.
2) the image of A. - a character, the protagonist of a work of art, considered among other characters (has the features of a lyrical hero or a hero-narrator; can be extremely close to the biographical A. or deliberately distant from him).
The author of the work is a real-life person, and the lyrical hero is a fictional character, a figment of fantasy, sometimes they can be identical, that is, the lyrical subject is autobiographical, it conveys the ideas of the author (in Yesenin, for example, "The Black Man"), but in most cases they cannot be equated to each other.
20.Lyric analysis. Stanza, rhyme and rhyme in lyrical text
Analysis of a lyrical work is one of the options for writing. As a rule, topics of this kind look something like this: “The poem by A.A. Blok "The Stranger": Perception, Interpretation, Evaluation. The wording itself contains what you need to do to reveal the ideological and thematic content and artistic features of the lyrical work: 1) tell about your perception of the work; 2) to interpret, that is, to approach the author's intention, to unravel the idea embodied in the work; 3) express your emotional attitude to the work, talk about what affected, surprised you, drew your attention. Here is a diagram of the analysis of a lyrical work. The history of the creation of the work:
facts from the author's biography related to the creation of a poetic work
the place of the work in the work of the author.
to whom is the poem dedicated (prototypes and addressees of the work)?
2. The genre of the poem. Signs of the genre (genres).
3. The title of the work (if any) and its meaning.
4. The image of a lyrical hero. Its closeness to the author.
5. Ideological and thematic content:
leading theme;
idea (main idea) of the work
development of the author's thought (lyrical hero)
emotional coloring (orientation) of the work and ways of its transmission
6. Artistic features:
artistic techniques and their meaning;
key words and images associated with the idea of ​​the work;
sound recording techniques;
the presence / absence of division into stanzas;
features of the rhythm of the poem: meter, rhymes, rhymes and their connection with the ideological intent of the author.7. Your reader's perception of the work

· Stanza- a combination of lines in a poem that have a certain metrical, rhythmic, intonational-syntactic structure, in rhymed poetry also a rhyming scheme. In an essay consisting of several stanzas, the metrical, rhyming, and other structure of each subsequent stanza repeats the structure of the first stanza

RIFMOVKA, System, the order of alternation of rhymes in a verse. Cross rhyming (1st verse rhymes with 3rd, 2nd with 4th). Covert rhyming (1st with 4th, 2nd with 3rd). Free rhyme.

· Rhyme- consonance at the end of two or more words. It is most commonly used in poetic speech and in some eras in some cultures acts as its obligatory or almost obligatory property.

· 21. Rhyme, its types. Differentiation of rhymes by syllabic volume, sound, location in a word, the number of words participating in consonance, position in a stanza, vocabulary, stress, grammatical feature .

RHYTHMA (from the Greek. ῥυθμός - proportionality) - compositional-sound repetition mainly at the end of two or more verses, more often - starting from the last stressed syllable in rhyming words. According to the syllabic volume of the rhyme divided into three types - male, female, trisyllabic (dactylic). They are separated by the position of the stressed syllable in the rhyming word.
Male - The stress is on the last syllable. As a rule, this is the simplest rhyme (I am yours, mine).
Feminine - The stress falls on the penultimate syllable. The number of matching sounds is greater than in the male (edge ​​- playing, dreaming).
Trisyllabic (aka dactylic) - The stress falls on the third syllable from the end (bone - cane, dostochka).
According to the nature of the sound, they distinguish exact and approximate, banal, rich and poor, assonances, dissonances, compound, tautological, nonequisyllabic, differently shocked.
Tautological - words rhyme with themselves, I also called such a rhyme "strange".
Multi-stressed - in rhyming syllables, the stress falls on different syllables.
Assonances - consonance in words of vowel sounds with a complete or partial mismatch of consonants.
Dissonances - partial or complete consonance in words of consonant sounds with a complete or partial mismatch of vowels
Banal - a bunch of words that are very often used, that is, peculiar stamps (blood - love).
Poor - only stressed syllables are consonant.
Rich - coincidence of reference pre-shock sounds.
Uneven - with a different number of post-stressed syllables.
Accurate - the sounds match, starting from the percussion.
Approximate - Not all sounds match, starting from the drum.
According to the location in the poem, rhymes are - initial, final, internal.
Final - the most common, rhyming words are at the end of lines.
Initial - rhyme from the first words in the lines.
Internal - a rhyme formed within a verse or several verses within a stanza.

· By the position of rhyming lines in a stanza(as a rule, quatrains) distinguish between rhymes paired (AABB), cross (ABAB) and encircling, ring (ABBA).

· RHYTHM (from the Greek. rhythmos - folding - proportionality), the consonance of the ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and linking them together. Developed from the natural consonances of syntactic parallelism; in European poetry it has been common since the 10th-12th centuries. By volume, rhymes are 1-complex, 2-complex, etc.; at the place of stress (on the 1st, 2nd, 3rd, 4th, ... syllable from the end) - masculine, feminine, dactylic, hyperdactylic (see clause); according to the accuracy of consonance - exact (white - bold), approximate (white - bold), inaccurate (I - me, flame - memory, unknown - next); rich rhymes are distinguished by the presence of reference sounds; according to lexical and grammatical features - homogeneous (for example, verbal) and heterogeneous, homonymous, tautological, compound, etc.; according to the mutual arrangement of rhyming lines - adjacent (aabb; identical letters conditionally designate rhyming verse lines), cross (abab), inclusive (abba), mixed (ternary - aabccb), double, triple, etc. Cf. Assonance, Dissonance

· 22.Strofa. Strophic and astrophic verses. Types of strophic. Solid forms, two-, three-, quatrains, etc. Superstrophes: seven-, eight-, nine-, ten-, fourteen-lines.
A stanza is a periodically repeating group of verses united by some formal feature. In addition, the stanza, as a rule, is a relatively complete fragment in terms of meaning and composition.

Astrophic poem - a poem in which there is no ordered division of the text into stanzas

· Strophic verse-verse with an ordered (in the form of stanzas) grouping of poetic lines.

· STROPHY, types of stanzas STROPHY A couplet is the simplest form of a stanza, while adjacent lines rhyme: I look, like a madman, at a black shawl, And sadness torments my cold soul. (A.S. Pushkin) Tercet (three lines) - a stanza of three verses. There are three types: 1) all three verses in one rhyme; 2) two verses are rhymed, the third is not; 3) two verses are rhymed, the third has a rhyme in an adjacent stanza. Quatrain (quatrain) - the most common form of stanza with rhymes aabb abab abba aaba Pentate - a quatrain with one double rhyme (aabba abaab ababa ababb). Sextine (six-line stanza) - a poem of six stanzas, consisting of a quatrain and a couplet, with a different system The most common rhyming forms are: abababcc or abab+cdcd; abab+cddc. Nine lines (nona) is a form that is very little represented in Russian poetry. Nine-line sample: Open the dungeon for me, Give me the radiance of the day, Black-eyed maiden, Black-maned horse. Give once on the blue field Ride on that horse; Give once in a lifetime and freedom, As to a share alien to me, To look closer to me. (M.Yu. Lermontov) Ten line (decima, odic stanza) - the most common form of its quatrain + six line (ababccdeed): Give me, Felitsa! admonition: How to live magnificently and truthfully, How to tame the excitement of passions And be happy in the world? Your voice excites me, Your son sends me; But I am weak to follow them. Worrying about worldly vanity, Today I rule over myself, And tomorrow I am a slave to whims. (GR Derzhavin) Sonnet (fourteen lines) - consists of 14 verses (usually two quatrains + two tercets): There are creatures that look directly at the sun, without closing their eyes; Others, reviving only by night, Protect their eyes from the light of day. And there are those

23. Sonnet. A wreath of sonnets. Onegin stanza.

Sonnet.. solid form, a lyric poem of 14 lines in the form of a complex stanza consisting of two quatrains(quatrains) into two rhymes and two tercetes (three lines) into three, less often - into two rhymes.

· Wreath of sonnets- the architectonic form (solid form) of a poetic work, as well as a poetic work written in this form.

· The wreath of sonnets consists of 15 sonnets. The first line of the second sonnet coincides with the last line of the first sonnet, the first line of the third - with the last line of the second, etc. The fourteenth sonnet ends with the first line of the first sonnet (as if the first sonnet begins with the last line of the fourteenth). The fifteenth sonnet (main sonnet, mainline, madrigal) consists of the first lines of the previous 14 sonnets

· Onegin stanza- the stanza with which the novel was written in verse by Alexander Sergeevich Pushkin "Eugene Onegin", 14 lines of iambic tetrameter.

· The stanza was based on a sonnet - a 14-line poem with a certain rhyme scheme. From the “English” (“Shakespearean”) sonnet, Pushkin took the strophic structure (three quatrains and the final couplet),

· At its core, the Onegin stanza is a "verse within a verse." Having a rather complex structure, it gives the author ample opportunities to express the meaning and mood of the poem. Conventionally, the Onegin stanza can be divided into four parts - three quatrains, sequentially written using cross, paired, and then encircling rhymes, and one couplet, where the lines rhyme with each other.

· The first lines in these groups should rhyme using a feminine consonance, the final pair of lines are combined with a masculine rhyme. It is also possible to formulate quite clearly the requirements for the compositional construction of the stanza in this case. The 1st part denotes the general theme of the stanza, the 2nd gives its development, in the 3rd the author makes a climax, and the 4th part is a logical conclusion, a kind of conclusion expressed in an ironic or aphoristic form.

· The use of the Onegin stanza is justified in long poems, full of lyrical digressions and reflections of the author. For the first time, such a method of grouping lines in a poem was used by A.S. Pushkin in the novel "Eugene Onegin", which gave the stanza its name.

A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social life, and people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works. A person who is well acquainted with the lyrics easily distinguishes the unique originality of the lyrics of A. S. Pushkin, M. Yu. Lermontov, N. A. Nekrasov, F. I. Tyutchev, A. A. Blok, V. V. Mayakovsky, A. T. Tvardovsky and other Russian and Soviet, as well as foreign poets: J. V. Goethe, J. F. Schiller, G. Heine, J. R. Becher, N. Guillen, P. Neruda and others.

Artistic images of any work, including lyrical, generalize the phenomena of life, through individual, personal experience express thoughts and feelings that are characteristic of many contemporaries. So, for example, in the "Duma" Lermontov expressed the feelings of a whole generation of people of his time. Any personal experience of a poet becomes a fact of art only when it is an artistically perfect expression of the feelings and thoughts typical of many people. The lyrics are characterized by both generalization and fiction. The more talented the poet, the richer his spiritual world, the more deeply he penetrates into the world of other people's experiences, the greater the heights he reaches in his lyrical work. Reading the poet's poems one after another, with all their diversity, we establish their unity in the perception of the world, in the nature of experiences, in their artistic expression. A complete image is created in our consciousness - an experience, that is, a state of character, an image of a person's spiritual world. There is an image of a lyrical hero. The lyrical hero, like the hero of epic and dramatic works, reflects certain characteristic, typical features of people of his time, his class, exerting a huge influence on the formation of the spiritual world of readers.

So, for example, the lyrical hero of the poetry of A. S. Pushkin, revealing in his “cruel age” the ideal of a spiritually rich, free personality, high humanism, greatness in struggle, creativity, friendship and love, was the banner of the progressive people of that era and continues to provide beneficial influence on the people of our time.

The lyrical hero of V. V. Mayakovsky's poetry reveals in an unusually versatile way the rich inner world of a man of a socialist society, his socio-political, moral, and aesthetic ideals.

In many ways - in character, ideas, proposals - the lyrical hero of A. T. Tvardovsky appears before us: restrained, stern, laconic. And already completely different, unlike the first two, the lyrical hero of B. L. Pasternak - fragile, impressionable, vulnerable, refined.

The lyrical hero in the works of socialist realism reflects and reveals the diversity of the spiritual world of the builders of the new society.