• A lyrical hero is the subject of a statement in a lyrical work, a kind of character in 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 Maximov. Some researchers distinguish the concept of the poet's lyrical self from the lyrical hero.

  As Irina Rodnyanskaya notes in connection with Lermontov’s lyrical hero, 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 lyric poem, the entire body of lyrics) as a person endowed with vital certainty of personal destiny, psychological clarity of the inner world, and sometimes with features of plastic certainty (appearance , “habit”, “posture”). Understood in this way, the lyrical hero was a 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 extreme agreement with the personality of the author-poet (as the “soulful” and conceptual truth of the author’s self-image) and at the same time in a tangible discrepancy with it (since everything extraneous to his “fate” is excluded from the hero’s existence). In other words, this lyrical image is consciously constructed 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 additionally created by the audience, a special type 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 the depicting coincide, the lyric poem closes on itself. In this case, the lyrical hero naturally focuses primarily on his feelings and experiences, which is the essence of the very category of the lyrical hero. Let us note that, in accordance with the established tradition in literary studies, one can talk about a lyrical hero only when the entire corpus of works of a particular author is considered in relation to his author’s hypostasis. According to Boris Korman’s definition, “the lyrical hero is one of the subjects of consciousness; he is both a subject and an object in a directly 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 “Blok” (1921), cannot be applied to every poet and poem: the lyrical “I” is sometimes devoid of individual definition or is completely absent (as, for example, in most of A. A. Fet’s poems). Instead, the poem comes to the fore: a generalized lyrical “we” (“To Chaadaev”, “The Cart of Life” by A. S. Pushkin), landscape, philosophical discussions on universal themes, or the hero of “role-playing lyrics”, opposed to the author with his worldview and /or speech manner (“Black Shawl”, “Imitations of the Koran”, “The Page, or the Fifteenth Year”, “I am here, Inesilya...” by A. S. Pushkin; “Borodino” by M. Yu. Lermontov; “The Gardener”, “ Moral Man", "Philanthropist" by 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 in the poetry of S.A. Yesenin), ornithological images in the lyrics of M.I. Tsvetaeva. The bearer of the author's consciousness is increasingly not a person, but a part of nature.

Characteristics of the concept of “lyrical hero”

lyrical poetic intonation timbre

A lyrical hero is the 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 uniqueness of the poet's worldview, his interests, and character traits find appropriate expression in the form and 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.

A lyrical hero is an important concept concerning the depiction 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” is in the analysis of lyrical poems, causes controversy among literary theorists.

Meanwhile, in recent decades, it is customary to call a lyrical hero the 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. A lyrical hero, in this understanding, is an 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 indicating the identity of the thoughts, feelings, moods expressed in the poem: “poet”, “author”. We can simply say that, for example, in the poem “Again I visited...” it was Pushkin, and not the “lyrical hero,” who thought about the future, about the “young, unfamiliar” tribe, and in Nekrasov’s poem “Reflections at the Front Entrance” It is the author of the poem himself who addresses the Russian people with bitter words.

Pushkin, Nekrasov, Tyutchev are lyricists without a lyrical hero. The author's image in their lyrical works seems to be merged with their real personality - the personality of the poet himself. It is inappropriate to call this image a lyrical hero, because a lyrical hero, as researcher L. Ya. Ginzburg accurately noted, “is always a reflection, separated from the reflected.” We should talk about a lyrical hero when, in a poem written in the first person, the lyrical subject, to one degree or another, differs from the poet, the author of the poem. The variants of such a discrepancy may be different. Sometimes poets themselves emphasize moments of discrepancy between the “I” of the poet and the “I” of the person about whom they write. The poet, as it were, gets used to someone else’s or alien to him role, puts on a “lyrical mask.” Sometimes the differences are not so obvious. For example, the spiritual world of the author, his inner experience, which forms the basis of a lyrical work, may turn out to be only 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 “Blok” in 1921. He discovered a discrepancy between Blok's biography and personality and the image of the 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, but 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 Gumilev, Anna Akhmatova, S. Yesenin and other poets of the early twentieth century.

The term “lyrical hero” is often used in the analysis of epic works, most often poems. Some literary scholars even talk about the “lyrical hero” in Eugene Onegin and 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 in no way justified, since the “lyrical hero” is the “hero” of the lyrical work. It is incorrect 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”.

Image lyrical hero is created on the basis of the poet’s life experience, his feelings, sensations, expectations, etc., enshrined in the work in an artistically transformed form. However, 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 to the poet himself. For example, in the 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 “dream” 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 by him is meant the bearer of the experience expressed in the lyrics. “A lyrical hero is an artistic “double” of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyric poem, the entire body of lyrics) as a clearly defined figure or life role, as a person endowed with certainty, individuality of fate, psychological clarity of 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 formed from the poet’s cycle of poems or from his entire poetic work. This is a special form of expression of the author's consciousness 3:

1. The lyrical hero is both a speaker and the subject of the image. He stands openly between the reader and the world depicted; 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 internal ideological and psychological unity; in different poems a single human personality is revealed in its relationship 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 from the life of a certain person.

The definiteness of the lyrical hero is characteristic, for example, of the poetry of M.Yu. Lermontov (to whom the discovery of the lyrical hero in Russian literature belongs, although the term itself appeared in the twentieth century), N.A. Nekrasov, V. Mayakovsky, S. Yesenin, A. Akhmatova, M. Tsvetaeva, V. Vysotsky... From their lyrical works grows an image of a whole personality, outlined psychologically, biographically, and emotionally, with its 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 about his psychology, biography, or emotional world. In such lyrical systems, “between the poetic world and the reader, during the direct perception of the work, there is no personality as the main subject of the image or a keenly tangible 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 his 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: over forty of his works begin with “I”. However, this “I” is not Fet’s lyrical hero: he has neither external, biographical, nor internal certainty that allows us to talk about him as a certain personality. The poet's lyrical "I" is a view of the world, essentially abstracted from a specific individual. Therefore, when perceiving Fet’s poetry, we pay attention not to the person depicted in it, but to a special poetic world. In Fet's poetic world, 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 are depicted in their general terms - without a particular personality make-up. But the feelings in Fet’s poems are also special: vague, indefinite. To reproduce such a vague, barely perceptible inner world, Fet resorts to a complex system of poetic means, which, despite all their diversity, have a common function - the function of creating an unsteady, indefinite, elusive mood.

The lyrical hero in poetry, although he does not completely coincide with the author’s “I,” is accompanied by special sincerity, confession, “documentary” lyrical experience, introspection and confession prevail over fiction. The lyrical hero, and not without reason, is usually perceived as the image of the poet himself - a real person.

However, in the lyrical hero (with all his obvious autobiography and autopsychologism), we are attracted not so much by his personal uniqueness, his personal destiny. Whatever biographical and psychological certainty the lyrical hero may have, his “fate” is interesting to us primarily for its typicality, universality, and reflection of the common destinies of the era and of all humanity. Therefore, the remark of L.Ya. is correct. Ginzburg on the universality of lyrics: “...lyrics have their own paradox. The most subjective kind of literature, it, like no other, is directed towards the general, towards the depiction of mental life as universal... if lyricism creates a character, then it is not so much “particular”, individual, as epochal, historical; that typical image of a contemporary that is developed by large cultural movements" 5 .

Lyrical hero.

endowed with stable personality traits, uniqueness of appearance, individual destiny, a conventional image of a person who says “I” about himself in a lyric poem; one of the ways of expressing the author's consciousness in a lyrical work is not identical to the image of the author - the creator of the work. The author’s spiritual experience, his system of understanding and feeling the world are reflected in the lyrical work not directly, but indirectly, through the inner world, experiences, mental states, and manner of speech expression. L. g. One of the methods for embodying the image L. g. cyclization is considered (i.e. the presence of a more or less pronounced poetic plot in which the inner world is revealed L. g.). L.g. as a special form of “legalization” of the author’s consciousness, it was generated by romanticism. In relation to classicism and sentimentalism, the term is not used, since classicism does not know individualization, and within the framework of sentimentalism, one can only speak about the lyrical subject (i.e., about the identity of the author’s worldview and its embodiment in a lyrical work). The relationship between the poet and L. is comparable to the relationship between the author - the creator of the work and the literary hero. However, despite the fact that L. g.- a character, we can say that in his image “confession and introspection prevail over fiction.”

Role-playing hero and the character in the lyrics.

A character is any character in a work. You cannot say “lyrical character” instead of “lyrical hero”. Characters, like heroes, can be major or minor, but when applied to episodic characters, only the term “character” is used. Often, a character is understood as a minor person who does not influence events, and a literary hero is a comprehensively depicted character who is important for expressing the idea of ​​the work

One of the options for the presence of a lyrical subject in a poetic work.

The role-playing hero turns out to be closest to what is commonly called a hero in an epic work. This is a determined hero, his separation from the author is expressed in the difference in their points of view. Such a hero is most often found in ballad lyrics, in poems oriented towards folklore and folk tradition, where the lyrical author and the hero are carriers of different types of consciousness. It is no coincidence that when depicting the people's world, N. A. Nekrasov needed to turn so often to the role-playing hero.

Man and thing in a work of art

When talking about a thing in a literary work, we refer to the entire set of human-created objects that are included in the world of the work. This could be a character’s costume, the interior of his house, personal items and much more that constitutes the usual sphere of cultural life.

It is quite natural that things that are invariably present in human reality become one of the constituent parts of artistically translated reality.

The material world creates the background, conditions or justification for the actions or actions of the characters. The material series is motivated by the circumstances presented and is designed for a certain awareness of the reader.

THING AND CHARACTER

A thing can act in a characterological function. Costume and interior, personal belongings help determine not only the era and social status, but also the character, tastes, and habits of the character.

Things become indirect signs of a character's evolution.

Express the author's attitude towards the character. Here, for example, is a material detail in Turgenev’s novel “Fathers and Sons” - an ashtray in the shape of a silver bast shoe, standing on the table of Pavel Petrovich, who lives abroad. This detail not only characterizes the character’s ostentatious love of the people, but also expresses a negative assessment of Turgenev. The irony of the detail is that the roughest and at the same time perhaps the most essential object of peasant life here is made of silver and serves as an ashtray

Lyrical hero

Lyrical hero

One of the forms of manifestation of the author's consciousness in a lyrical work; the image of the poet in lyric poetry, expressing his thoughts and feelings, but not reducible to his everyday 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 external appearance (for example, in the lyrics of S.A. Yesenina and V.V. Mayakovsky). The image of the lyrical hero is revealed throughout the poet’s work, as in the poetry of M. Yu. Lermontov, and sometimes within a certain period or poetic cycle.
The term “lyrical hero” was first used by Yu.N. Tynyanov in relation to the work of A.A. Blok in the article “Blok” (1921), may not be applied to every poet and poem: the lyrical “I” is sometimes devoid of individual definition or completely absent (as, for example, in most poems by A.A. Feta). Instead, the poems come to the fore: the generalized lyrical “we” (“To Chaadaev,” “The Cart of Life” by A.S. Pushkin), landscape, philosophical discussions on universal themes, or the hero of “role-playing lyrics”, opposed to the author with his worldview and/or speech manner (“Black Shawl”, “Imitations of the Koran”, “The 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. Nekrasova etc.).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

See what a “lyrical hero” is in other dictionaries:

The lyrical hero is the subject of a statement in a lyrical work, a kind of character in 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 ... ... Wikipedia

lyrical hero- the hero of a lyrical work, whose experiences, thoughts and feelings it reflects. The image of the lyrical hero is not identical to the image of the author, although it covers the entire range of lyrical works created by the poet; based on the image of the lyrical hero... ...

lyrical hero- endowed with stable personality traits, uniqueness of appearance, individual destiny, a conventional image of a person who speaks about himself “I” in a lyric poem; one of the ways of expressing the author’s consciousness in a lyrical work (see... ...

LYRICAL HERO- LYRICAL HERO, the image of a poet in lyric poetry, one of the ways to reveal the author’s consciousness. L. g. artistic “double” of the poet’s author, growing out of the text of lyrical compositions (cycle, book of poems, lyric poem, the whole set... ... Literary encyclopedic dictionary

Lermontov's LYRICAL HERO, the image of the poet in lyric poetry, objectification of the real author's “I” in lyric poetry. creativity. As a way of revealing the author’s consciousness with the utmost completeness, it is realized in the poetry of L. The boundaries of the term (proposed by Yu. Tynyanov), ... ... Lermontov Encyclopedia

The lyrical hero, the lyrical subject, the lyrical I, the subject of the utterance in a lyrical work, a kind of character in the lyrics. The concept of a lyrical subject, not identical to the author of the text as such, arose in the works of Yuri Tynyanov and ... ... Wikipedia

Adj., used. compare often Morphology: adv. lyrically 1. Lyrical is what is related to lyricism as a type of art, connected with it. Lyric poet. | Lyric poetry. | Lyric poem. | She felt lyrical poetry... Dmitriev's Explanatory Dictionary

lyrical- aya, oe 1) Related to lyrics, being lyrics. Lyric poetry. Lyrical prose. Lyrical hero. ...Chekhov's plays should be staged not as lyrical dramas, but as lyrical comedies (Gorky). 2) Imbued with feelings, filled with... ... Popular dictionary of the Russian language

hero of the work- one of the main characters in a work of art (as opposed to a character); the development of the character of the hero and his relationships with other characters play a decisive role in the development of the plot and composition of the work, in revealing it... ... Terminological dictionary-thesaurus on literary criticism

lyrical hero- See lyrical hero... Dictionary of literary terms

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