What is the name of the character’s appearance. Techniques for creating a character’s inner world

Psychologism works
  1. Acceptance of the naming. The title of the work. Talking names of heroes
  2. Reception characteristics. Direct author's characteristic, self-characterization of the hero, characteristic of other characters
  3. Reception of the description. Portrait.
  4. Characterization of the hero through his actions, actions, manner of holding, thoughts.
5. Speech Features  characters
  6. The image of the hero in the character system
  7. Acceptance of the use of artistic details
  8. Reception of the image of nature (landscape) and environment (interior)

Knowing this, it is easy enough to deduce what this discipline belongs to. This is a description of the physical characteristics of the character, that is, his appearance. It includes only those elements that can be seen with the naked eye, depending on their appearance. This is a description of the psychological and moral qualities of the character.

A portrait is a description that combines both physical and moral characteristics. In other words, it is a mixture of prosopography and stage. A cartoon, usually used in a humorous field, consists of an exaggerated description of the characters, where the flaws are accented and presented to the character as a comic person.

The worst reproach that an author can receive from a reader is that his characters are cardboard. This means: the author did not bother (or did not bother enough) with the creation of the character’s inner world, because of which he turned out to be flat \u003d one-dimensional.

In fairness, it should be noted that in some cases the hero does not need diversity. For example, in purely genre works - a loveburger, detective, action - a villain and should only be a villain (brutally flashing eyes, gritting his teeth and hatched black plans), and virtue should triumph in everything - both in the appearance of the heroine, and in her thoughts, and in habits.
  But if the author is planning a serious thing, he wants to hook the reader not only on the event, but also on the emotional level, you can’t do without working out the hero’s inner world.

Good if short-term, twice good

Although this point is very subjective, it is true that a good reader appreciates a clear and concise description. However, more or less extensive descriptions are already a matter for everyone. There are writers who need thirty pages to describe the face of a secondary character, and then there are those who do not even mention the color of the protagonist's own hair. Every writer is a world, and they are just as effective as everyone.

However, it is very important to pay attention to what is described so as not to repeat the information. Regardless of the extension, redundancy in the description is unacceptable. You can describe a character with a phrase, just like you can see character details on several pages. But it is unacceptable to repeat with other synonyms what has already been stated earlier. Something like this makes reading unsatisfactory and boring.

This article describes the basic techniques that will allow you to transfer the hero from cardboard to a 3D model.

First, a little about PSYCHOLOGISM as a set of means used in a literary work to depict the character’s inner world of his thoughts, feelings, experiences.

The ways of depicting the character’s inner world can be divided into an “outside” image and an “inside” image.
  The image "from the inside" is carried out through an internal monologue, memories, imagination, psychological introspection, dialogue with oneself, diaries, letters, dreams. In this case, the first-person narrative provides great opportunities.

Reason for every description

The narration should be consistent and fluid so as not to bore the reader, so adding information that no one asked for is a clear symptom of a lack of practice. This is very similar to the descriptions. You should never describe someone with the only excuse that they are. Thus, the three rules would have to describe even the smallest details of each passerby with whom our main character crossed the street. Not to mention how tedious it is to read a long description of the one you just introduced.

The “outside” image is a description of the hero’s inner world not directly, but through the external symptoms of a psychological state. The world surrounding a person forms a mood and reflects it, affects the actions and thoughts of a person. These are the details of everyday life, housing, clothing, the surrounding nature. Facial expressions, gestures, speech to the listener, gait - all these are external manifestations of the hero’s inner life. The method of psychological analysis "from the outside" can be a portrait, detail, landscape, etc.

Even the main character is a stranger at the beginning of the novel. Despite the significant nature of the plot, it is not recommended to display the physical details when the reader did not even have time to imagine the character. It's like a stranger stops us on the street to tell us something that doesn't interest us.

When a writer understands this, it’s much easier to find the right time to describe. You must look for and please the right moment, never force it. There is no need to explain that the main character has blue eyes and a scar on his cheek if there is no one in front of him except the reader. It would be much better to wait some other time, for example, when this character looks in the mirror after the battle that left a black eye. When this or someone pays attention to your face, this is a great occasion to tell the reader how his face is.

And now, actually, tricks.

1. ACCEPTANCE OF NAMES

Perhaps the simplest (meaning - the most obvious, lying on the surface) technique is NAME.

TITLE OF WORK

The name of the work itself may indicate a characterization of the characters.
  A classic example is “The Hero of Our Time”.

The hero of Our Time, my gracious sovereigns, is for sure a portrait, but not of one person: this is a portrait composed of the vices of our entire generation, in their full development. You will tell me again that a person cannot be so bad, and I will tell you that if you believed the possibility of the existence of all the tragic and romantic villains, why do you not believe in the reality of Pechorin? (Lermontov. Hero of our time)

More important than when. The chaotic description is incoherent and confusing, and makes the story tiring and overwhelming. First of all, describing the nature of the legs in order to follow the hair, then with the hands and, finally, with the face, it seems that we are describing the appearance of parts of Frankenstein or some kind of deformed chimera. This is what, in the literature, is called the Frankenstein complex. This complex consists of writing randomly, without preserving order, as if we had built a symbol in pieces, not observing the most outstanding functions and giving priority to less relevant ones.

SPEAKING NAMES OF HEROES

The technique can be used, as they say, in the forehead - as, for example, in classic Russian comedies. So, Fonvizin had Pravdin, Skotinin, Starodum. Griboedov has Molchalin, Skalozub.
  The same technique can be used more cunningly - through associations and allusions.

For example, take the Gogol "Overcoat." The main character was called Akaki Akakievich Bashmachkin. Recall how the author describes the story of the name of the hero.

What order should be followed then? If we look at the landscape and take a panoramic view of everything, what would we see in the first place? Imagine a beautiful green meadow with several almond trees in the background and high mountain ranges in the distance. And in this idyllic setting, in the middle of the meadow, there is a red telephone box.

If someone goes to this meadow, what will he see first? Or what will catch your attention? Obviously, the telephone box will be the first to draw your attention to the surreal situation. Then perhaps the extension of the meadow is worth mentioning. And then the height of the mountains. But to do it the other way round would be frankly strange, because it would give the impression that it is habitual for this character to find telephone booths in the middle of nature.

Akaki Akakievich was born against the night, if only he remembers, on March 23. The deceased mother, an official and a very good woman, settled down, as it should, to christen the child. Mother was still lying on the bed against the doors, and on his right hand stood a godfather, an excellent man, Ivan Ivanovich Eroshkin, who served as the head of the Senate, and godfather, the wife of a quarterly officer, a woman of rare virtues, Arina Semenovna Belobryushkova. The postpartum woman was given a choice of any of the three that she wants to choose: Mokkiya, Sossiya, or to name the child in the name of the martyr Khozdazat. No, the deceased thought, the names are all like that. To please her, they unfolded the calendar elsewhere; three names came out again: Trifilius, Dula, and Varajasius. “This is the punishment,” said the old woman, “what are all the names; I really have never heard such ones. Let Varadat or Baruch, if only Trifilius and Varakhasiy.” We also flipped the page - came out: Pausikahy and Vakhtisy. “Well, I see,” said the old woman, “that, apparently, he has such a fate. If so, then it would be better to be called like his father. His father was Akaki, so let his son be Akaki.” (Gogol. Overcoat)

The same thing happens with people. If we introduce a person with a patch in his eye, if we are not pirates and are not used to something like that, the first thing that will attract our attention is the patch. However, if this person has green hair, this fact will eclipse the patch. And if he is a normal person, they will highlight the most characteristic features of a person, such as faded skin, nascent baldness or penetrating eyes.

In short, the order that should be given in character descriptions should list features from most to least remarkable. First of all, it is more convenient to leave the most characteristic aspects that are encountered the most and are the first that can be seen with the naked eye. The most common and irrelevant aspects and details may be omitted or transmitted in passing as something indirect.

This is what is called the top layer. Digging deeper.
  The name "Akaki" in Greek means "good", "humble." Initially, Gogol gave him the name "Tishkevich" - as if he doubled the characteristic feature of his hero. Then he changed his surname to “Bashmakevich” - apparently with the aim of awakening sentimental feelings. And when the story was finished, the hero already bore the name Bashmachkin.
  The combination of the first and last names acquired an obvious parody sound. Why was this needed? And this was precisely a means of creating the character’s inner world. “Akaki Akakievich Bashmachnikov” - the hero’s nondescriptness (absurdity?) Is emphasized here and - most importantly - in the Gogol (\u003d corporate) style becomes a sign of future tragic events.

From point of view

Descriptions are subjective because they are always tied to a particular point of view. The two most used narrative models are the third and first person, each of which affects different descriptions. When the narrator is omniscient and narrates in the third person, he should not be the one who describes in accordance with his point of view in relation to the described character, but should be through the perception of the other characters present on the stage, all of them or, in particular, one . The narrative should convey the sensation that this character produces in the environment, and how it affects other characters.

Another example from the classics.
  "Tatyana! ... Dear Tatyana." For Pushkin's contemporaries, this name was associated with the appearance of a peasant woman.
  Pushkin writes in such a way: “For the first time in the name of such a Page we will consecrate the delicate novels. Calling the heroine simple we have, the author thereby emphasizes the main characteristic feature - the naturalness of her nature - remember, "Tatyana, Russian soul ..."?

It would not be very logical to describe someone as a harsh bully with a terrible and threatening attitude, when those around him are colossal, who occupy three heads and double their muscles. As already mentioned, the descriptions are completely subjective. Just like this happens with a third party, except that the point of view will always be applied to the character who tells the story. This is reflected beautifully and expertly in John Boyne's Boy in Striped Pajamas. The main character is a child who perceives the world from innocence and ignorance, and when he sees a group of people in prison clothes, the author describes them as people in pajamas, because that's how they are perceived by a small one.

But in “Mazepa” Pushkin changes the name of the historical heroine. In fact, the daughter of Kochubey was called Matrena (from Latin “venerable”). But the simple Matryona clearly reduced pathos, so there was a replacement for a more sonorous Maria.

Playing with the names of heroes is a very promising technique that can even be displayed in a separate storyline.

Pelevin. Generation "P"

It is too innocent to be identified in any other way, and therefore it is associated with all elements of the novel. Having said all this, the best way to learn how to write good descriptions is to read them. Any novel worthy of its pages has a significant number of descriptions, more extensive than others. Something as simple as awareness of what is read at all times will make us improve our writing with almost no understanding. And this, as they say, these are three good examples of description in various literary works.

I start with hair. Do you see thin gold knots that rotate in Arabia? They are prettier, and they do not shine less. La Celestina, Fernando de Rojas. In the corner appeared the man whom the cat was watching, and he did it so suddenly and quietly that one would think that this happened from the ground. The cat's tail twitched, and his eyes narrowed. He was tall, thin and very old, judging by his silver hair and beard, for so long that he could fasten his belt. He was wearing a long robe, a purple cloak sweeping the floor, and high-heeled boots and buckles.

Take, for example, the very name "Vavilen", which Tatarsky awarded to his father, who combined in his soul faith in communism and the ideals of the sixties. It was composed of the words "Vasily Aksyonov" and "Vladimir Ilyich Lenin." Tatarsky’s father, apparently, could easily imagine a faithful Leninist gratefully comprehending over the free Axen page that Marxism had originally stood for free love, or an obsessed with jazz esthete, whom a particularly long roux of the saxophone would suddenly make it clear that communism would win. But this was not only Tatarsky’s father - that was the whole of the Soviet generation of the fifties and sixties, who gave the world an amateur song and ended up in the black void of space as the first companion - a four-tailed sperm that never had a future.
   Tatar was very shy of his name, introducing himself as possible to Vova. Then he began to lie to friends that his father named him so because he was fond of oriental mysticism and had in mind the ancient city of Babylon, the secret doctrine of which he, Babilen, would inherit. A father created Aksenov’s alloy with Lenin because he was a follower of Manichaeism and natural philosophy and considered himself obliged to balance the light principle with the dark one. Despite this brilliant development, at the age of eighteen Tatarsky with pleasure lost his first passport, and the second one he already received for Vladimir.
   After that, his life took shape in the most ordinary way.
<…>
  “Vladimir Tatarsky,” said Tatarsky, rising and shaking his puffy limp palm.
  “You are not Vladimir, but Vavilen,” said Azadovsky. “I know about that.” Only I am not Leonid. My dad was an asshole too. Do you know what he called me? Legion. I didn’t even know, probably, what this word means. At first I also grieved. But then he found out what the Bible says about me, and calmed down.
<…>
  Farseykin shrugged.
   - The great goddess is tired of misalliance.
   - How do you know?
   - At the divine divination in Atlanta, the oracle predicted that Ishtar will have a new husband in our country. We have had problems with Azadovsky for a long time, but for a long time we could not understand who this new one is. All that was said about him was that he was a man with the name of a city. We thought, thought, searched, and then suddenly they bring your personal matter from the first section. By all accounts, it turns out that this is you.
   - I???
   Instead of answering, Farseikin signaled to Sasha Blo and Malyuta. They went up to the body of Azadovsky, took him by the legs and dragged him from the altar room to the locker room.
   - I? repeated Tatar. - But why me?
- I do not know. You ask yourself this. For some reason, the goddess didn’t choose me. And as if it sounded - the person who left the name ...
   - Left the name?
   - I, in general, from the Volga Germans. Just when the university graduated, from television the order came to the chock - correspondent in Washington. And I was the Komsomol secretary, that is, America was the first in line. So they changed my name in Lubyanka. However, it doesn’t matter.

His blue eyes were clear, bright, and twinkled behind the crescent glasses. She had a very long, crooked nose, as if she had ever broken it. The name of this man was Albus Dumbledore. Harry Potter and the Sorcerer's Stone, J. When he spoke, the horses started pounding and whining, and stood up so wildly that the driver had to hold them tight. Then, in the midst of a chorus of screams of peasants who hastily crossed themselves, a carriage appeared behind us, passed us and stopped at our car. They were led by a tall man with a long gray beard and a large black hat, which seemed to hide his face from us.

And another example of how, with the help of the name of the hero, the author emphasizes his character (and at the same time the idea of \u200b\u200bthe work)

K.M. Stanyukovich. Serge Ptichkin.
  The hero of the story by all means, not embarrassed in choosing means, tries to break through to the top, to make a career.

When the former vague dreams of the lad began to take a more real form, the surname began to annoy the young man even more.
  And he often thought:
  “It was necessary for the father to be called Ptichkin! And how did this mother, a girl from an old noble family, decide to marry a man bearing the name of Ptichkin? This god knows what a surname! Well, at least Korshunov, Yastrebov, Sorokin, Voronov, Vorobyov ... even Ptitsyn, and then suddenly ... Ptichkin! ”And when he dreamed of a future glorious career, these dreams were poisoned by the memory that he ... Mr. Ptichkin.
  Even if he would provide the homeland with some extraordinary services ... like Bismarck ... he still would never be made a count or a prince.
  “Prince Ptichkin ... This is impossible!” - the young man repeated angrily to his last name.
True, he liked on occasion to explain (which he did soon with the Batishchevs) that the Ptichkin family was a very old noble family and that one of the ancestors, the Swedish knight Magnus, nicknamed for his unusual horseback ride “Bird”, at the beginning of the 15th century He moved from Sweden to Russia and, having married the Tatar princess Zyuleyka, laid the foundation of the Ptichkin family. But all these heraldic explanations, written in addition as early as the fifth grade of the gymnasium, when Russian history passed, did little to console the noble descendant of the Swedish knight Ptichka.

He turned to the driver: "Today you arrived very early, my friend." When we create a character, we always have a general idea of \u200b\u200bhis role as a book, but his personality and understanding by the reader of the actions are given by characterization. A detailed description of the distinctive features of the characters that combine the action of a literary work of a narrative or dramatic character. The characterization is not confused with the simple identification of a given character in the story told, although it can contribute to this.

The characteristic acts primarily to determine the physical or psychological profile of the characters as living parts of the story. However, there are cases of exclusion in which the character’s identification through the first information that the author gives us, invariably his own name, can be crucial for its characterization.

In the end, the hero achieves what he wants - a prominent position, a millionth fortune, but ...

In general, Serge Ptichkin is happy. He has a lovely apartment, carriages on rubber tires, excellent horses, a foolish wife in love, a very prominent career ahead ...
  One only still torments him, this is his last name.
  - Ptichkin ... Ptichkin! He repeats sometimes with malice in his luxurious study. - And it was necessary to be born with such a stupid surname!

From the description found in the dictionary, characterization of characters seems a little more complicated than it actually is, let's understand this definition. When you start the story, your characters are only to serve one purpose, whether it is a union of a couple, war, the death of someone, any purpose that your story has, these characters go to small, lifeless and stereotypical, characterization of characters and stories are independent things. The only connection between them is the goal of the characters. And the goal, that is, what the character wants, is what is characteristic of the character in the beginning.

2. RECEPTION - CHARACTERISTIC HERO

SELF-CHARACTERISTIC HERO

I was then twenty-five years old, ”began N.N., the affairs of days gone by, as you see. I just broke free and went abroad, not to “finish my education”, as they used to say, but I just wanted to see the world of God. I was healthy, young, cheerful, my money was not transferred, my worries had not yet started - I lived without looking back, did what I wanted, flourished, in a word. It didn’t occur to me then that a person is not a plant and for a long time he cannot prosper. Youth eats gilded gingerbread cookies, and even thinks that this is this daily bread; but the time will come - and you will ask for a loaf of bread. But there’s nothing to talk about.
  I traveled without any purpose, without a plan; stopped wherever I liked, and set off immediately further as soon as I felt a desire to see new faces - namely faces. I was exclusively occupied by people; I hated curious monuments, wonderful gatherings, one look of a bosom footman aroused a feeling of longing and anger in me; I almost lost my mind in Dresden's Grüne Gelbe. Nature acted extremely on me, but I did not like its so-called beauties, extraordinary mountains, cliffs, waterfalls; I didn’t like her to be tied to me, to prevent her. But faces, living human faces - people's speeches, their movements, laughter - that’s what I could not do without. In the crowd it was always especially easy and pleasant for me; I had fun going where others were going, screaming when others were screaming, and at the same time I loved to watch these others scream. I was amused to watch people ... yes, I did not even watch them - I examined them with some joyful and insatiable curiosity. (Turgenev. Asya)

For the purposes of the characters, we can understand their attitude during the story. In Harry Potter, your goal is to defeat Walmort. In Twilight, James's goal is to suck Isabella's blood, and this is for all the characters, whether they are primary or secondary. There is also another way to characterize a character, somewhat superficial, but enough for some not so important characters. Language, preferences, dressing, physical conditions, etc. - These are ways to characterize a character.

Be careful not to confuse features with features. Say that a character is tall or short, fat or thin does not say anything about him, but everything is justified if the character is related to his attribute, for example, he has freckles, which makes him feel ugly, affecting your personality.

CHARACTERISTIC OF A HERO BY OTHER CHARACTERS

I tried to explain to Captain Bruno why all this surprised me, and he was silent for a minute or two.
   “There is nothing surprising,” he said finally, “that I was kind to Strickland, because we, although we might not have suspected it, had common aspirations.”
   “But tell me, could there be a common desire among such diverse people as you and Strickland?” - smiling, I asked.
   - Beauty.
   “The concept is pretty broad,” I muttered.
   “You know that people who are obsessed with love become blind and deaf to everything in the world, except for their love.” They also do not belong to themselves, like slaves chained to benches on a galley. Strickland possessed a passion that tyrannized him no less than love.
   “How strange that you say that!” I exclaimed. “I have long thought Strickland was possessed by a demon.”
   - His passion was to create beauty. She did not give him rest. Drove from country to country. The demon in him was merciless - and Strickland became an eternal wanderer, he was tormented by divine nostalgia. There are people who crave the truth so passionately that they are ready to undermine the foundations of the world, if only to achieve it. Such was Strickland, only beauty replaced him with truth. I felt only deep compassion for him.
   - And this is also strange. The man whom Strickland severely insulted once told me that he felt deep pity for him. - I was silent for a while. “Have you really found an explanation for the man who always seemed incomprehensible to me?” How did you come up with this?
   He turned to me with a smile.
   - Didn’t I tell you that I, in my own way, was an artist? I had the same desire as Strickland. But for him, the means of expression was painting, and for me, life itself. (Maugham. The moon and penny)

3. RECEPTION - DESCRIPTION OF A HERO (PORTRAIT)

Literary portrait - an artistic depiction of the character's appearance: faces, figures, clothes, manner of holding, etc.

Portraits of characters are detailed, detailed, or fragmentary, incomplete; can be served immediately in the exposition, or when the character is first introduced into the plot, or gradually, with the plot unfolds with the help of expressive details.

Types of portraits:

Naturalistic (portrait copied from a real person)

Many subsequently said that Chekhov had blue eyes. This is a mistake, but a mistake is strange to everyone who knew him. His eyes were dark, almost brown, and the rails of his right eye were painted much stronger, which gave A.P. a look, with some turns of the head, an expression of distraction. The upper eyelids hung slightly above the eyes, which is so often observed among artists, hunters, sailors - in short, people with concentrated eyesight. Thanks to his pince-nez and his manner of looking through the bottom of his glasses, slightly raising his head up, the face of A.P. often seemed harsh. But it was necessary to see Chekhov in other minutes (alas, so rare in recent years), when he was seized with fun and when he, with a quick movement of his hand dropping his pince-nez and swaying back and forth on the armchair, burst into a sweet, sincere and deep laugh. Then his eyes became semicircular and radiant, with good wrinkles at the outer corners, and then he all resembled that youthful famous portrait, where he is depicted almost beardless, with a smiling, short-sighted and naive look, a little from underneath. And now - amazingly - every time I look at this picture, I can’t help but think that Chekhov’s eyes were really blue. (Kuprin. In memory of Chekhov)

Psychological (through the appearance of the hero reveals the inner world of the hero, his character)

Idealizing or grotesque (spectacular and vibrant, teeming with metaphors, comparisons, epithets)

In general, for all authors, the appearance of the heroes has always been fundamental to understanding their character. Depending on traditions, features of the literary trend, the norms of the corresponding genre, individual style, the authors submit portrait descriptions of characters in different ways, paying more or less attention to their appearance.
  However, there are authors for whom it is appearance that is the starting point for creating images - as, for example, for Dickens.

With astonishing farsightedness, he distinguished between small external signs, his gaze, without missing anything, grabbed, like a good camera lens, movements and gestures for a hundredth of a second. Nothing escaped him ... He did not reflect the object in its natural proportions, like an ordinary mirror, but like a concave mirror, exaggerating the characteristic features. Dickens always emphasizes the peculiar features of his characters - not limited to the objective image, he exaggerates and creates a caricature. He strengthens them and puts them into a symbol. The kind-hearted Pickwick personifies gentleness of soul, the skinny Jingle - callousness, the evil turns into Satan, the good - into embodied perfection. His psychology begins with the visible, he characterizes a person through purely external manifestations, of course through the most insignificant and subtle, visible only to the sharp eye of the writer ... He observes the smallest, most material manifestations of spiritual life and through them, with the help of his wonderful caricature optics, reveals the whole character. (c) Stefan Zweig.

4. CHARACTERISTIC OF A HERO THROUGH ITS ACTION, ACTION, KEEP MANNER, THOUGHTS

The main means of creating character is the IMAGE of ACTIONS CHARACTER.
  Here, the comparison of the inner experiences of the character and his actions works well. A classic example is Dostoevsky's Crime and Punishment.

5. As a separate method of recreating the character’s inner world, one can single out his SPEECH FEATURES.

Socrates has a good saying: "Speak to me to see you."
  The speech of the Persian characterizes him as well as possible, reveals his inclinations, addictions.

6. Also, as a separate technique, you can select a HERO IMAGE in the CHARACTER SYSTEM.

The hero does not hang in a vacuum - he is surrounded by other Persians (supporters, opponents, neutrals). Reflecting in their cues, assessments, actions, etc., the hero acquires additional volume. In principle, this technique is similar to No. 4 and No. 2 (characterization of the hero by other characters).
  Comparing with other characters (and contrasting them!), The author has the opportunity to immerse the reader even deeper into the inner world of his hero.

8. ACCEPTANCE OF USE OF ART PARTS

Let me remind you that an artistic detail is a detail that the author endowed with a special semantic and emotional load.
  The inner world of the hero as a whole and / or at a particular moment can be shown with the help of household details that can correspond or, on the contrary, sharply contradict the psychological state of the hero.

So, life can absorb a hero - a series of landowners in “Dead Souls” or Chekhov's “Leader”.
  Olga Ivanovna “in the living room hung all the walls entirely with her and other people's sketches in frames and without frames, and near the piano and furniture she arranged a beautiful cramped space from Chinese umbrellas, easels, multi-colored rags, daggers, busts, photographs”, in the dining room “pasted the walls with popular prints ", hung bast shoes and sickles, put braids and rakes in the corner, and turned out a dining room in Russian style." In the bedroom “to make it look like a cave, I draped the ceiling and walls with dark cloth, hung a Venetian lantern over the beds, and put a figure with a halberd at the door.”

Pay attention to the deliberately long chain of details. The goal is not to depict the picture \\ background \\ circumstances of the heroine’s life, but to immediately show the prevailing traits of her character - vanity, pettiness, imaginary aristocracy. It’s not without reason that Chekhov “finishes” the heroine, describing how, due to lack of money and a desire to splurge, Olga Ivanovna and her dressmaker show miracles of ingenuity - “From an old repainted dress, from worthless pieces of tulle, lace, plush and silk, they just came out miracles, something charming, not a dress, but a dream. ”

But in the "White Guard" Bulgakov details of life acquire a completely different sound. Things in the world of heroes are spiritualized, they become symbols of the eternal - “The watch, fortunately, is absolutely immortal, the Saardam carpenter and the Dutch tile, like a wise rock, in the most difficult time, life-giving and hot” (c)

  “The main thing is to find the detail ... it will illuminate the characters for you, you will go from them, and the plot and thoughts will grow. From the details to the characters. From characters to generalizations and ideas ”(c) M. Gorky in a letter to A. Afinogenov.

9. RECEPTION OF THE ENVIRONMENTAL IMAGE IMAGE IN CHARACTER LIFE

The image of nature (landscape) and the environment (interior) are indirect characteristics of the inner world and character of the character.

At the top there was only the sky and a cloud in its center, looking like a slightly smiling flat face with closed eyes. And down below for a long time there was nothing but fog, and when it finally dispersed, Marina was so tired that she could hardly stay in the air. From the heights, there were not so many traces of civilization: several concrete malls, boardwalks over the beach, boarding houses and houses on distant slopes. You could still see the bowl of the antenna peering up at the top of the hill and a wagon standing next to the one that is called the booming word "change house". The trailer and the antenna were closest to the sky, from which Marina slowly descended, and she saw that the antenna was rusty and old, the door of the trailer was boarded up crosswise with boards, and the windows in its window were smashed. All this blew sadness, but the wind carried Marina past, and she immediately forgot about what she saw. Having spread its translucent wings, she made a farewell circle in the air, finally looked at the endless blue above her head and began to choose a place for landing.
<…>
  The first object she met in a new world for herself was a large plywood shield, where an unfulfilled Soviet future and its beautiful inhabitants were painted - Marina for a moment glared at their faded Nordic faces, over which hung like cheesecakes from the Book about tasty and healthy food ”at space stations, and then looked at the poster that covered half the stand, handwritten on a whatman paper with a wide poster pen:
<…>
  In the bushes behind the poster, the last clumps of fog trembled, but the sky above his head was already clear, and the sun was shining with might and main. At the end of the embankment there was a bridge over a sewage stream flowing into the sea, and behind it stood a stall from which music could be heard - just the kind that it should play on a summer morning over the beach. To the right of Marina, on a bench in front of the shower pavilion, an old man with a mane of yellowish-gray hair was dozing, and a few meters to the left, next to a scale similar to a small white gallows, a woman in a medical coat was waiting for customers.
<…>
  The world around was beautiful. But it was hard to say exactly what this beauty consisted of: in the objects that the world consisted of - in the trees, benches, clouds, passers-by - nothing seemed to be special, but all together came together in a clear promise of happiness, in an honest word, which gave life it is not clear for what reason. Marina had a question inside, expressed not by words, but somehow differently, but which undoubtedly meant:
  “What do you want, Marina?”
And Marina, thinking, answered something tricky, also not expressed in words, but put into this answer all the stubborn hope of a young organism.
  “These are the songs,” she whispered, took a deep breath of the sea-smelling air and walked along the embankment towards a shining day. (Pelevin. Life of insects)

Creating the character’s inner world is a rather painstaking process. No one could write a good story with a snap, even the most-most luminaries.

A good work is distinguished from a bad one by careful thought over of particulars, which, as a result, are assembled into a single whole.

Try it and you - think it over, I mean. Right now, without leaving the monitor, analyze the thing that you are writing at the moment.

Follow the steps in this article.

Have you connected the description of the hero’s appearance with his character?

Have the reader been allowed to look at the hero through the eyes of minor characters?

Have they been given the floor to evaluate the actions / character traits of the heroes?

What function do descriptions perform in your text? (only allow the reader to navigate the terrain or in harmony / contrast with the emotional state of the hero)

That's something like this approximately))

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1 Training work on LITERATURE 11 grade on November 24, 2016 Variant LI10101 Completed: Full name Instructions for completing the work The work on literature consists of two parts, which include 17 tasks. 3 hours 55 minutes (235 minutes) are allotted for literature work. Part 1 includes 2 sets of tasks. The first set of tasks relates to a fragment of an epic, or lyro-epic, or dramatic work: 7 tasks with a short answer (1 7) and 2 tasks with a detailed answer in the amount of 5 10 sentences (8, 9). The second set of tasks relates to the analysis of the lyrical work: 5 tasks with a short answer (10 14) and 2 tasks with a detailed answer in the amount of 5 10 sentences (15, 16). The answer to tasks 1 7 is a sequence of numbers or a word (phrase). Write the answer in the response field in the text of the work without spaces, commas and other additional characters. Part 2 includes 3 tasks (), from which you need to select ONLY ONE and give a detailed reasoned answer to it in the genre of essays on a literary topic with a volume of at least 200 words. We recommend that you take no more than two hours to complete the tasks of Part 1, and the rest of the time to complete the tasks of Part 2. When completing the tasks, you can use the draft. Draft entries are not taken into account when evaluating work. The points you received for completed tasks are summed up. Try to complete as many tasks as possible and score maximum points. We wish you success!

2 Literature. Grade 11. VERSION LEE Part 1 Read the fragment of the work below and complete tasks 1 9. The most remarkable person was the janitor Gerasim, a man of twelve height points, folded by a hero and deaf-mute from birth. The lady took him from the village where he lived alone, in a small hut, separate from his brothers, and was considered almost the most serviceable draft man. Gifted with extraordinary power, he worked for four, the matter was arguing in his hands, and it was fun to look at him when he either plowed and, laying his huge hands on a plow, seemed to alone cut the elastic chest of the earth without the help of a horse, or about Petrov Day so crushingly acted oblique, that even if the young birch forest was whisked off the roots, or agile and non-stop threshed with a three-chained flail, and the elongated and firm muscles of his shoulders went down and rose. Constant silence attached solemn importance to his tireless work. He was a nice man, and if there wasn’t his misfortune, every girl would willingly marry him. But Gerasim was brought to Moscow, bought him boots, sewed a caftan for the summer, a winter coat for winter, gave him a broom and a shovel and identified him as a janitor . At first he did not like him strongly his new life. Since childhood, he got used to field work, to rural life. Alienated by his misfortune from a community of people, he grew dumb and mighty, like a tree grows on fertile land. Relocated to the city, he did not understand what was happening to him, was bored and perplexed, how perplexed was the young, healthy bull that he had just taken from the fields , where the succulent grass grew along his belly, they took it, put it on a railroad car, and behold, blowing off his fat body with smoke and sparks, then with wavy steam, they rush it now, rush with a knock and screech, but where God knows! Gerasim’s occupations in his new position seemed to him a joke after hard peasant work; in half an hour everything was ready for him, and he again stopped in the middle of the courtyard and gazed, gaping his mouth at all those passing by, as if wishing to get a solution to their mysterious position from them, then he suddenly went somewhere in the corner and, throwing the broom far and a shovel, threw himself on the ground and spent hours on his chest motionless, like a beast caught. But man gets used to everything, and Gerasim finally got used to urban living. He had little to do; his whole duty was to keep the yard clean (I. S. Turgenev, “Mumu”)

3 Literature. Grade 11. Option LI Work I.S. Turgenev's "Mumu" is written in the tradition of the literary trend that prevails in the 2nd half of the 19th century. Indicate its name. 2 Indicate the genre to which the work of I.S. Turgenev's Mumu. 3 At the beginning of the fragment, a brief description of Gerasim's appearance is given. What is the name of this technique character characteristics? 4 Set the correspondence between the three characters of the works of I.S. Turgenev and the names of these works. For each position of the first column, select the corresponding position from the second column. Write down the answer in numbers in the table. CHARACTERS A) hunter (narrator) B) Bazarov C) Tatyana WORKS 1) “Mumu” \u200b\u200b2) “Russian language” 3) “Bezhin meadow” 4) “Fathers and children” Answer: A B C 5 What artistic technique was used by the author in the following phrase: "he grew dumb and mighty, like a tree grows on fertile land"? 6 What term denotes an expressive detail that serves as a means of characterizing a character (“promptly and non-stop threshing with a three-arched chain”)?

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4 Literature. Grade 11. Variant LI The above fragment is the beginning of the story. What is the sequence of events in a work of art called? For tasks 8 and 9, use a blank sheet. First write down the number of the assignment, and then give a direct, coherent answer to the question (approximate volume of 5 10 sentences). Rely on the author's position, if necessary, state your point of view. Reason the answer based on the text of the work. Performing task 9, select for comparison 2 works by different authors (in one example, it is permissible to refer to the work of the author who owns the source text); indicate the names of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis. Write down answers clearly and legibly, observing the norms of speech. 8 What is the author’s attitude towards Gerasim and how is it manifested? 9 In what works of Russian literature are the images of peasants presented and in what ways can these characters be compared with Turgenev's Gerasim?

5 Literature. Grade 11. LEE Option Read the work below and complete the Life! Unexpected joy. The happiness that fell to me. Dawn evening coolness, White frost on the stubble. And war, and severe hunger. And the taiga Siberian forest. And the prickly, burning cold of the Ice Granite Mountains. Everything was, it was difficult On the land of your roads. It was so that she left And you yourself from under your feet. No matter how anxious, I told myself: hold on! It is otherwise impossible, Because it is life. I’ll accept everything that rushes past On the roads of being ... It’s a pity that you are unique, My beautiful life. (A.V. Zhigulin, 1976) The answer to the tasks is a word, or a phrase, or a sequence of numbers. Write down the answer in the space provided for this. 10 What type of rhyme (ABAB) is used by the poet in this poem? 11 Indicate the number of the stanza (serial number in the Im. Case) containing the anaphora.

6 Literature. Grade 11. Variant LI While reflecting on life, the author contrasts her happy moments with the hard time of tests. What is the name of the method of contrasting in a work of art? 13 From the list below, select the three names of the artistic means used by the poet in the poem (indicate the numbers in any order). 1) rhetorical question 2) epithet 3) inversion 4) grotesque 5) lexical repetition Answer: 14 Determine the size by which the poem A.V. is written Zhigulin (without indicating the number of feet). For tasks 15 and 16, use a blank sheet. First write down the number of the assignment, and then give a direct, coherent answer to the question (approximate volume of 5 10 sentences). Rely on the author's position, if necessary, state your point of view. Reason the answer based on the text of the work. Performing task 16, select for comparison 2 works by different authors (in one example, it is permissible to refer to the work of the author who owns the source text); indicate the names of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis. Write down answers clearly and legibly, observing the norms of speech. What is the philosophical meaning of the poem A.V. Zhigulina? In what poems of Russian poets do you think about the meaning of life and what these works can be compared with the poem of A.V. Zhigulina?

7 Literature. Grade 11. Variant LI Part 2 To complete the task of Part 2, select ONE of the proposed essays (). On a blank sheet, indicate the number of the topic you have chosen, and then write an essay on this topic in a volume of at least 200 words (if the volume of the essay is less than 150 words, then it is rated zero points). Rely on the author’s position and formulate your point of view. Argument your thesis based on literary works  (in the essay on the lyrics it is necessary to analyze at least three poems). Use theoretical and literary concepts to analyze a work. Think over the composition of the composition. Write your essay clearly and legibly, observing the norms of speech. What is the role of extra-stage characters in the comedy of A.S. Griboedova "Woe from Wit"? What are the reasons for the collapse of Raskolnikov's theory? (Based on the novel by F. M. Dostoevsky “Crime and Punishment”). How do the legends of Larra and Danko help to uncover the problems of the story of M. Gorky "The Old Woman Isergil"?

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