Who is a lyrical hero in literature. Definition of the concept of "lyrical hero"

The text as such arose in the works of Yuri Tynyanov and was developed by such researchers as Lidia Ginzburg, Grigory Gukovsky, Dmitry Maksimov. Some researchers distinguish the concept of the lyrical "I" of the poet from the lyrical hero.

As Irina Rodnyanskaya notes in connection with the lyrical hero of Lermontov, the lyrical hero is

a kind of artistic double of the author-poet, acting from the text of extensive lyrical compositions (cycle, book of poems, lyric poem, the whole set of lyrics) as a person endowed with vital certainty of personal destiny, psychological distinctness inner world, and sometimes also features of plastic certainty (appearance, "habit", "posture"). The lyrical hero understood in this way was the discovery of the great romantic poets - J. Byron, G. Heine, M. Yu. Lermontov - a discovery widely inherited by the poetry of subsequent decades and other directions. Lyrical hero European romanticism is in the utmost coincidence with the personality of the author-poet (as the "heartfelt" and conceptual truth of the author's self-image) and at the same time - in tangible non-coincidence with it (since everything extraneous to his "fate" is excluded from the hero's being). In other words, this lyrical image is deliberately built not in accordance with the full volume of the author's consciousness, but in accordance with the predetermined "fate".<…>The lyrical hero, as a rule, is further created by the audience, a special warehouse of reader's perception, which also arose within the framework of the romantic movement.<…>. For the reader's consciousness, the lyrical hero is the legendary truth about the poet, a legend about himself, bequeathed by the poet to the world.

The lyrical hero is, according to Lydia Ginzburg, “not only the subject, but also the object of the work”, that is, the depicted and depicting coincide, lyric poem closes on itself. In this case, the focus of the lyrical hero naturally occurs primarily on his feelings, experiences, which is the essence of the very category of the lyrical hero. Note that, in accordance with the tradition that has developed in literary criticism, one can speak of a lyrical hero only when the entire corpus of the works of a particular author is considered in relation to his author's hypostasis. According to the definition of Boris Korman, "a lyrical hero is one of the subjects of consciousness<…>he is both subject and object in the direct evaluative point of view. The lyrical hero is both the bearer of consciousness and the subject of the image.

The term "lyrical hero", first used by Yu. N. Tynyanov in relation to the work of A. A. Blok in the article "Block" (1921), can not be applied to every poet and poem: the lyrical "I" is devoid of individual certainty or is completely absent (as, for example, in most of A. A. Fet's poems). Instead, the poems come to the fore: a generalized lyrical “we” (“To Chaadaev”, “The Cart of Life” by A. S. Pushkin), a landscape, philosophical discourse on universal topics, or the hero of “role-playing lyrics”, opposed to the author by his worldview and / or in a speech manner (“Black Shawl”, “Imitations of the Koran”, “Page, or the Fifteenth Year”, “I am here, Inezilla ...” by A. S. Pushkin; “Borodino” by M. Yu. Lermontov; “Gardener”, “ moral man”, “Philanthropist” N. A. Nekrasov, etc.).

The lyrical hero is not always a human image. For symbolists, this is increasingly a zoomorphic image (the image of a horse, a horse in the poetry of S.A. Yesenin), ornithological images in the lyrics of M.I. Tsvetaeva. The carrier of the author's consciousness is increasingly not a person, but a part of nature.

Image lyrical hero created on the basis life experience the poet, 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):

AT afternoon fever in the valley of Dagestan With lead in my chest I lay motionless; The deep wound was still smoking, My blood was dripping drop by drop.

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 creativity. This is special form expressions of the author's consciousness 3:

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 a lyrical hero by what is close to him, what he rebels against, how he perceives the world and his role in the world, etc.
The lyrical hero is characterized by an internal ideological and psychological unity; in different poems reveals a single human personality in her relationship to the world and to herself.
With unity internal appearance biographical unity can be combined. In this case various poems can be combined into episodes of a person's life.

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 them lyrical works the image of a personality grows as a whole, outlined both psychologically, and biographically, and emotionally, with its characteristic reactions to events in the 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 a lyrical hero, but about poetic world one poet or another. 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 makes extensive use of the first person personal pronoun 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. Certain psychological situations and emotional states in their in general terms- out of a special warehouse of personality. But the feelings in Fet's poems are special: vague, indefinite. To reproduce such a vague, barely perceptible inner world, Fet resorts to complex system poetic means, which, with all their diversity, have general 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, "documentation" of the 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 (for 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 image mental life as universal... if the lyrics create a character, it is not so much "private", single, but epochal, historical; that typical image of a contemporary, which is developed by large movements of culture” 5 .

The term "lyrical hero", first used by Yu. N. Tynyanov in relation to the work of A. A. Blok in the article "Block" (1921), can not be applied to every poet and poem: the lyrical "I" is devoid of individual certainty or is completely absent (as, for example, in most of A. A. Fet's poems). Instead, the poems come to the fore: a generalized lyrical “we” (“To Chaadaev”, “The Cart of Life” by A. S. Pushkin), a landscape, philosophical discourse on universal topics, or the hero of “role-playing lyrics”, opposed to the author by his worldview and / or in a speech manner (“Black Shawl”, “Imitations of the Koran”, “Page, or the Fifteenth Year”, “I am here, Inezilla ...” by A. S. Pushkin; “Borodino” by M. Yu. Lermontov; “Gardener”, “ Moral Man”, “Philanthropist” by N. A. Nekrasov, etc.).

Lyrical hero- the subject of the utterance in a lyrical work, a kind of character of the lyrics.

The concept of a lyrical hero, not identical to the author of the text as such, arose in the works of Yuri Tynyanov and was developed by such researchers as Lydia Ginzburg, Grigory Gukovsky, Dmitry Maksimov. Some researchers distinguish the concept of the poet's lyrical self from the lyrical hero.

As Irina Rodnyanskaya notes in connection with the lyrical hero of Lermontov, the lyrical hero is

a kind of artistic double of the author-poet, emerging from the text of extensive lyrical compositions (a cycle, a book of poems, a lyrical poem, the entirety of lyrics) as a person endowed with a vital certainty of personal destiny, psychological distinctness of the inner world, and sometimes with features of plastic certainty (the appearance , "habit", "posture"). The lyrical hero understood in this way was the discovery of the great romantic poets - J. Byron, G. Heine, M. Yu. Lermontov - a discovery widely inherited by the poetry of subsequent decades and other directions. The lyrical hero of European romanticism is in the utmost coincidence with the personality of the author-poet (as the "heartfelt" and conceptual truth of the author's self-image) and at the same time - in tangible non-coincidence with it (since everything extraneous to his "fate" is excluded from the hero's being). In other words, this lyrical image is consciously built not in accordance with the full scope of the author's consciousness, but in accordance with a predetermined "fate".<...>The lyrical hero, as a rule, is further created by the audience, a special warehouse of reader's perception, which also arose within the framework of the romantic movement.<...>. For the reader's consciousness, the lyrical hero is the legendary truth about the poet, a legend about himself, bequeathed by the poet to the world.

The lyrical hero is, according to Lidia Ginzburg, “not only the subject, but also the object of the work”, that is, the depicted and depicting coincide, the lyric poem closes on itself. In this case, the focus of the lyrical hero naturally occurs primarily on his feelings, experiences, which is the essence of the very category of the lyrical. Note that, in accordance with the tradition that has developed in literary criticism, one can speak of a lyrical hero only when the entire corpus of the works of a particular author is considered in relation to his author's hypostasis. According to Boris Korman, "a lyrical hero is one of the subjects of consciousness<…>he is both subject and object in the direct evaluative point of view. The lyrical hero is both the bearer of consciousness and the subject of the image" [

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, it can be endowed with a biography and even features of external appearance (for example, in the lyrics of S.A. Yesenin and V.V. Mayakovsky). The image of the lyrical hero is revealed in all the work of the poet, as in the poetry of M. Yu. Lermontov, and sometimes within a certain period or poetic cycle.
The term "lyrical hero", first used by Yu. N. Tynyanov in relation to the work of A. A. Blok in the article “Blok” (1921), can not be applied to every poet and poem: the lyrical “I” is devoid of individual certainty or is completely absent (as, for example, in most poems by A. A. Feta). Instead, the poems come to the fore: a generalized lyrical “we” (“To Chaadaev”, “The Cart of Life” by A. S. Pushkin), landscape, philosophical discussions on universal topics, or the hero of "role-playing lyrics", opposed to the author by his worldview and / or speech style ("Black Shawl", "Imitations of the Koran", "Page, or the Fifteenth Year", "I'm here, Inezilla ... "A. S. Pushkin; "Borodino" M. Yu. Lermontov; "Gardener", "Moral Man", "Philanthropist" N. A. Nekrasov etc.).

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):

In the afternoon heat in the valley of Dagestan With lead in my chest I lay motionless; The deep wound was still smoking, My blood was dripping drop by drop.

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 the cycle of the poet's poems or of his entire poetic work. This is a special form of expression of the author's consciousness 3:

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 a lyrical hero by what is close to him, what he rebels against, how he perceives the world and his role in the world, etc.
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.
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.

However, in the lyrical hero (for 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 .