The eternal image became the basis for many works. Control work eternal images in world literature

Eternal images are literary characters that have received multiple incarnations in the literature of different countries and eras, which have become a kind of “signs” of culture: Prometheus, Phaedra, Don Juan, Hamlet, Don Quixote, Faust, etc. Traditionally, they include mythological and legendary characters, historical figures (Napoleon, Jeanne d'Arc), as well as biblical faces, and the eternal images are based on their literary display. Thus, the image of Antigone is associated primarily with Sophocles, and the Eternal Zhid traces its literary history from the Great Chronicle (1250) by Matthew of Paris. Often the number of eternal images includes those characters whose names have become common nouns: Khlestakov, Plushkin, Manilov, Cain. The eternal image can become a means of typification and then it can appear impersonal ("Turgenev's girl"). There are also national variants, as if generalizing the national type: in Carmen they often want to see, first of all, Spain, and in the good soldier Schweik - the Czech Republic. Eternal images can be enlarged to a symbolic designation of an entire cultural and historical era.- both that gave birth to them, and later, rethinking them anew. In the image of Hamlet, sometimes they see the quintessence of a man of the late Renaissance, who realized the infinity of the world and his possibilities and was confused before this infinity. At the same time, the image of Hamlet is a cross-cutting characteristic of romantic culture (beginning with the essay by I.V. Goethe "Shakespeare and his Endlessness", 1813-16), representing Hamlet as a kind of Faust, artist, "damned poet", redeemer of the "creative » the guilt of civilization. F. Freiligrat, who owns the words: “Hamlet is Germany” (“Hamlet”, 1844), meant primarily the political inaction of the Germans, but involuntarily pointed out the possibility of such a literary identification of a German, and in a broader sense, a Western European person.

One of the main creators of the tragic myth about a European-Faustian of the 19th century, who found himself in a “out of the rut” world, is O. Spengler (“The Decline of Europe”, 1918-22). An early and very relaxed version of such a worldview can be found in I.S. Turgenev’s articles “Two words about Granovsky” (1855) and “Hamlet and Don Quixote” (1860), where the Russian scientist is indirectly identified with Faust, and also describes “two fundamental, opposite features of human nature”, two psychological types, symbolizing passive reflection and active action (“the spirit of the north” and “the spirit of the south man”). There is also an attempt to distinguish between eras with the help of eternal images, linking the 19th century. with the image of Hamlet, and in the 20th century - "large wholesale deaths" - with the characters of "Macbeth". In the poem by A. Akhmatova “Wild honey smells of freedom ...” (1934), Pontius Pilate and Lady Macbeth turn out to be symbols of modernity. The enduring significance can serve as a source of humanistic optimism, characteristic of the early D.S. Merezhkovsky, who considered eternal images to be “companions of mankind”, inseparable from the “human spirit”, enriching more and more new generations (“Eternal Companions”, 1897). I.F. Annensky, the inevitability of the writer's creative collision with eternal images is depicted in tragic tones. For him, these are no longer “eternal companions”, but “problems are poisons”: “A theory arises, another, third; the symbol is supplanted by the symbol, the answer laughs at the answer ... At times we begin to doubt even the existence of a problem ... Hamlet - the most poisonous of poetic problems - has survived more than one century of development, has been at the stages of despair, and not only Goethe ”(Annensky I. Books reflections, Moscow, 1979). The use of eternal literary images involves recreating the traditional plot situation and endowing the character with the features inherent in the original image. These parallels may be direct or hidden. Turgenev in "The Steppe King Lear" (1870) follows the outline of Shakespeare's tragedy, while N.S. Leskov in "Lady Macbeth of the Mtsensk District" (1865) prefers less obvious analogies (the appearance of Boris Timofeich poisoned by Katerina Lvovna in the form of a cat remotely parodic reminds of visiting the feast of Macbeth, who was killed on his orders by Banquo). Although a considerable share of the author's and readers' efforts is spent on building and unraveling such analogies, the main thing here is not the ability to see a familiar image in an unexpected context, but the new understanding and explanation offered by the author. The very reference to the eternal images can also be indirect - they do not have to be named by the author: the connection of the images of Arbenin, Nina, Prince Zvezdich from "Masquerade" (1835-36) by M. Y. Lermontov with Shakespeare's Othello, Desdemona, Cassio is obvious, but must be finally established by the reader himself.

Turning to the Bible, the authors most often follow the canonical text, which is not possible to change even in detail, so that the author's will manifests itself primarily in the interpretation and addition of a particular episode and verse, and not only in a new interpretation of the image associated with it (T. Mann "Joseph and his brothers", 1933-43). Greater freedom is possible when using a mythological plot, although here, due to its rootedness in cultural consciousness, the author tries not to deviate from the traditional scheme, commenting on it in his own way (M. Tsvetaeva's tragedies "Ariadne", 1924, "Phaedra", 1927). The mention of eternal images can open up a distant perspective for the reader, which contains the entire history of their existence in literature - for example, all the Antigones, starting from Sophocles (442 BC), as well as the mythological, legendary and folklore past (from the Apocrypha, narrating about Simonevolkhva, to the folk book about Dr. Faust). In "The Twelve" (1918) by A. Blok, the gospel plan is set by a title that sets either a mystery or a parody, and further repetitions of this number, which do not allow one to forget about the twelve apostles, make the appearance of Christ in the final lines of the poem, if not expected, then naturally (in a similar way, M. Maeterlinck in "The Blind" (1891), having brought twelve characters onto the stage, makes the viewer liken them to the disciples of Christ).

The literary perspective can also be perceived ironically when the reference to it does not justify the reader's expectations. For example, M. Zoshchenko’s narrative “repels” from the eternal images given in the title, and thus plays up the discrepancy between the “low” subject and the declared “high”, “eternal” theme (“Apollo and Tamara”, 1923; “The Suffering of Young Werther ", 1933). Often the parodic aspect turns out to be dominant: the author strives not to continue the tradition, but to “expose” it, to sum up. "Devaluing" the eternal images, he tries to get rid of the need for a new return to them. This is the function of the “Tale of the Schema Hussar” in “The Twelve Chairs” (1928) by I. Ilf and E. Petrov: in Tolstoy’s “Father Sergius” (1890-98), which they parody, the theme of the holy hermit is focused, traceable from hagiographic literature to G. Flaubert and F.M. Dostoevsky and presented by Ilf and Petrov as a set of plot stereotypes, stylistic and narrative clichés. The high semantic content of eternal images sometimes leads to the fact that they seem to the author to be self-sufficient, suitable for comparison almost without additional author's efforts. However, taken out of context, they find themselves, as it were, in an airless space, and the result of their interaction remains not fully clarified, if not again parodic. Postmodern aesthetics suggests active conjugation of eternal images, commenting, canceling and calling each other to life (H. Borges), but their multiplicity and lack of hierarchy deprives them of their inherent exclusivity, turns them into purely game functions, so that they pass into a different quality.

"Eternal" images of world literature

"Eternal" images- artistic images of works of world literature, in which the writer, on the basis of the life 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. They are ambiguous and multifaceted. In each of them are hidden great passions, which, under the influence of certain events, sharpen one or another trait of character to an extreme degree.

"Eternal" images should not be mixed with common nouns, which do not have such a generalizing, universal meaning ( Mitrofanushka, Khlestakov, Oblomov, Manilov and etc.)

Eternal images

Eternal images

Mythological, biblical, folklore and literary characters who vividly expressed the moral and ideological content that is significant for all mankind and have been repeatedly embodied in the literature of 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 polysemy, 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 ironically reduced or parodied (the 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" J. B. Molière), Carmen (short story of the same name by P. Merimee), Molchalin ("Woe from Wit" A. S. . Griboyedov), Khlestakov, Plyushkin ("Inspector General" and "Dead Souls" N. V . Gogol) and etc.

Unlike archetype reflecting primarily the “genetic”, original features of the human psyche, eternal images are always a product of conscious activity, have their own “nationality”, 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, fixed in artistic form.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

See what "eternal images" are in other dictionaries:

- (world, “universal”, “secular” images) they mean images of art that, in the perception of a subsequent reader or viewer, have lost their original everyday or historical significance and from ... ... Wikipedia

Literary characters, to whom the ultimate artistic generalization and spiritual depth impart universal, all-time significance (Prometheus, Don Quixote, Don Juan, Hamlet, Faust, Majnun) ... Big Encyclopedic Dictionary

Eternal images- ETERNAL IMAGES, mythological and literary characters, to whom the ultimate artistic generalization, symbolism and inexhaustibility of spiritual content impart a universal, timeless meaning (Prometheus, Abel and Cain, the Eternal Jew, Don ... ... Illustrated Encyclopedic Dictionary

Mythological and literary characters, to whom the ultimate artistic generalization, symbolism and inexhaustibility of spiritual content impart universal, universal significance (Prometheus, Abel and Cain, the Wandering Jew, Faust, Mephistopheles, ... ... encyclopedic Dictionary

eternal images- literary characters, to whom the ultimate artistic generalization and spiritual depth impart a universal, timeless meaning. Heading: artistic image Example: Hamlet, Prometheus, Don Juan, Faust, Don Quixote, Khlestakov Eternal images ... Terminological dictionary-thesaurus on literary criticism

eternal images- artistic images that, having arisen in specific historical conditions, acquire such an obvious non-historical significance that subsequently, turning into peculiar symbols, the so-called supertypes, again and again appear in ... ... Dictionary of literary terms

Or, as idealistic criticism called them, world, "universal", "eternal" images. By them are meant images of art, which, in the perception of the subsequent reader or viewer, have lost their originally inherent domestic or historical ... Literary Encyclopedia

Prominent Soviet critic and literary critic. Genus. in the town of Chernikhov, Volyn province. in a wealthy Jewish family. From the age of 15 he participated in the Jewish labor movement, from 1905 in the "Bund". During the reaction period, he emigrated abroad, where he studied ... ... Big biographical encyclopedia

Isaak Markovich (1889) a prominent Soviet critic and literary critic. R. in mke Chernikhov, Volyn province. in a wealthy Jewish family. From the age of 15 he participated in the Jewish labor movement, from 1905 in the "Bund". During the reaction period, he emigrated abroad, where ... ... Literary Encyclopedia

IMAGE- artistic, a category of aesthetics that characterizes a special way of mastering and transforming reality, inherent only in art. O. is also called any phenomenon that is creatively recreated in a work of art (especially often ... ... Literary Encyclopedic Dictionary

Books

• Art. Eternal images of art. Mythology. Grade 5 Textbook. Vertical. Federal State Educational Standard, Danilova Galina Ivanovna. The textbook opens the author's line of G. I. Danilova on art. It introduces the most valuable heritage of mankind - the works of ancient and ancient Slavic mythology. Contains a large…
• Art. 6th grade. Eternal images of art. Bible. Textbook for general education. institutions. Federal State Educational Standard, Danilova Galina Ivanovna. The textbook introduces the most valuable asset of mankind - works of art created on biblical subjects. Contains extensive illustrative material that gives a visual…

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 clearly expressed the moral and ideological content that is significant for all mankind and received multiple incarnations in the literature of different peoples and eras. 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 form the basis of myths, folklore and culture itself in general and pass 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”, the 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 the appropriate cultural significance and without which it loses its significance.

One cannot but agree that it is much more interesting for people of this or that era to compare the image with themselves when they themselves find themselves in the same life situations. On the other hand, if an eternal image loses its significance for the majority of any social group, this does not mean at all that it disappears forever from this culture.

Each eternal image can experience only 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 of different countries and peoples often used the motive of concluding an alliance between a demon - the spirit of evil and a person. Sometimes the poets were attracted by the story of the “fall”, “expulsion from paradise” of the biblical Satan, sometimes by his rebellion against God. There were also farces close to folklore sources, the devil in them was given the place of a mischievous, merry 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 a fallen angel who is constantly arguing 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 true philosopher, who follows human life and its progress with great interest. 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 the eternal problems that torment people of any generation.

The history of literature knows many cases when the works of the writer were very popular during his life, but time passed, and they were forgotten almost forever. There are other examples: the writer was not recognized by his contemporaries, and the true value of his works was discovered by subsequent generations.

But there are very few works in literature, the significance of which cannot be overestimated, since they create 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 a person.

Miguel Cervantes de Saavedra lived out his life 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 even difficult to list 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.

The immortal book was born from the idea to write a parody and ridicule the romances of chivalry, so popular in Europe in the 16th century, when Cervantes lived and worked. But the writer's idea grew, 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 both historically specific (it reflects the writer's contemporary Spain) and universal (because it exists in any country at all times). The essence of the conflict: the clash of ideal norms and ideas about reality with reality itself - not ideal, "earthly".

The image of Don Quixote has also become eternal thanks 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, disingenuousness, on the one hand, and naivety, eccentricity, adherence to dreams and illusions, on the other. The inner nobility of Don Quixote is combined with the comedy of her 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 timeless 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 maagegedy "Hamlet". This is a deeply 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 - the era 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 the eternal human feelings and aspirations. And each reader learns from these images to understand not only the past, but also the present.