The eternal image contains the work. The concept of “Eternal image” in literature and art
- A system of images is the totality of all images in a work of art (characters, symbols, details, nature). Together they form a complete picture. (The system of images in the novel “Oblomov” by I. A. Goncharov, depicted landscape, symbols, detail, heroes)
- The system of images is the totality of all the characters in the work, their interaction. (system of images in the novel “Oblomov” by I. A. Goncharov, (it includes Ilya Ilyich, Stolz, Olga Ilyinskaya, Agafya Pshenitsyna, etc.)).
Eternal themes
Eternal themes - permanent themes of fiction reflect the inexhaustible problems of the world.
Eternal themes in literature:
- families (“Fathers and Sons” by I. S. Turgenev);
- life (“Man in a Case” by A.P. Chekhov);
- death (“Svetlana” by V. A. Zhukovsky);
- good (“Matrenin Dvor” by A. Solzhenitsyn);
- evil (“The Master and Margarita” by M. A. Bulgakov);
- wars (also revolutions) (“Vasily Terkin” by A. T. Tvardovsky);
- struggle for peace (“War and Peace” by L. N. Tolstoy);
- love (“Garnet Bracelet” by I. A. Bunin);
- hatred (“War and Peace” by L.N. Tolstoy);
- spiritual development or degradation (“Oblomov” by I.A. Goncharov;
- zeal for power (“The Captain’s Daughter” by A.S. Pushkin);
- friendship (“Eugene Onegin” by A. S. Pushkin);
- pride (“Crime and Punishment” by F. M. Dostoevsky);
- sin (“The Thunderstorm” by A. N. Ostrovsky);
- cowardice (“Quiet Don” by M.A. Sholokhov);
- heroism (“Doctor Zhivago” by B. L. Pasternak).
Eternal images
Eternal images are characters in a work of art that have ahistorical significance. They reflect all the main qualities and properties of a person.
Eternal images in literature:
- Prometheus (mythology, folklore);
- Odysseus (mythology, folklore);
- Cain (mythology, folklore);
- Faust (“Faust” by Johann Wolfgang Goethe);
- Mephistopheles (mythology, folklore);
- Hamlet (William Shakespeare's Hamlet);
- Don João (“The Libertine of Seville and the Stone Guest” by Tirso de Molina);
- Don Quixote (Don Quixote by Miguel de Cervantes);
- Tartuffe and Jourdain (“Tartuffe” and “The Bourgeois in the Nobility” by J.B. Moliere);
- Carmen (“Carmen” P. Merimee);
- Molchalin (“Woe from Wit” by A. S. . Griboyedova);
- Khlestakov, Plyushkin (“The Inspector General” and “Dead Souls” N. V. . Gogol).
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ESSAY
ETERNAL IMAGES IN WORLD LITERATURE
Eternal images are artistic images of works of world literature in which the writer, based on the vital material of his time, was able to create a lasting generalization applicable in the life of subsequent generations. These images acquire a nominal meaning and retain artistic significance right up to our time. These are also mythological, biblical, folklore and literary characters who clearly expressed moral and ideological content that is significant for all mankind and were repeatedly embodied in the literature of different peoples and eras. Each era and each writer puts their own meaning into the interpretation of each character, depending on what they want to convey to the outside world through this eternal image.
An archetype is a primary image, an original; universal human symbols that form the basis of myths, folklore and culture itself as a whole and are passed down from generation to generation (stupid king, evil stepmother, faithful servant).
In contrast to the archetype, which primarily reflects the “genetic”, original characteristics 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 universal human perception of the world, but also a certain historical and cultural experience embodied in an artistic image. The universal character of eternal images is given by “the kinship and commonality of the problems facing humanity, the unity of the psychophysiological properties of man.
However, representatives of different social strata at different times invested their own, often unique, content into “eternal images,” i.e., eternal images are not absolutely stable and unchanging. Each eternal image has a special central motif, which gives it the corresponding cultural meaning and without which it loses its significance.
One cannot but agree that it is much more interesting for people of a particular era to compare an image with themselves when they themselves find themselves in the same life situations. On the other hand, if an eternal image loses significance for the majority of a social group, this does not mean that it disappears forever from that culture.
Each eternal image can experience only external changes, since the central motive associated with it is the essence that forever assigns a special quality to 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 towards 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 J. V. Goethe’s tragedy “Faust”.
Folklore and fiction from different countries and peoples often used the motif of an alliance between a demon - the spirit of evil and a person. Sometimes 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 that were close to folklore sources; in them the devil was given the place of a mischief maker, a cheerful deceiver who often got into trouble. The name "Mephistopheles" has become synonymous with a caustic and evil mocker. This is where the expressions arose: “Mephistophelian laughter, smile” - sarcastic and evil; “Mephistophelian facial expression” - sarcastic and mocking.
Mephistopheles is a fallen angel who has an eternal debate with God about good and evil. He believes that a person is so corrupt that, succumbing to even a slight temptation, he can easily give his soul to him. He is also confident that humanity is not worth saving. Throughout the entire work, Mephistopheles shows that there is nothing sublime in man. He must prove, using the example of Faust, that man is evil. Very often in conversations with Faust, Mephistopheles behaves like a real 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 leave his interlocutor behind and will be able to maintain a 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 sell their souls, to sin, he left the right of choice to everyone. Each person has the opportunity to choose exactly what his conscience and dignity allow him to do. 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, try to solve eternal problems that torment people of any generation.
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"Eternal Images"- artistic images of works of world literature, in which the writer, based on the vital material of his time, managed to create a lasting generalization applicable in the life of subsequent generations. These images acquire a nominal meaning and retain artistic significance right up to our time.
Thus, Prometheus summarizes the features of a person who is ready to give his life for the good of the people; Antea embodies the inexhaustible power that an inextricable connection with his native land, with his people gives to a person; in Faust - man’s indomitable desire to understand the world. This determines the meaning of the images of Prometheus, Antaeus and Faust and the appeal to them by advanced representatives of social thought. The image of Prometheus, for example, was extremely highly valued by K. Marx.
The image of Don Quixote, created by the famous Spanish writer Miguel Cervantes (XVI - XVII centuries), personifies a noble, but devoid of vital soil, dreaming; Hamlet, the hero of Shakespeare's tragedy (XVI - early XVII centuries), is a common image of a divided person, torn by contradictions. Tartuffe, Khlestakov, Plyushkin, Don Juan and similar images live for many years in the consciousness of a number of human generations, since they summarize the typical shortcomings of a person of the past, stable traits of human character, brought up by feudal and capitalist society.
“Eternal images” are created in a certain historical setting and only in connection with it can they be fully understood. They are “eternal,” that is, applicable in other eras, to the extent that the human character traits generalized in these images are stable. In the works of the classics of Marxism-Leninism, there are often references to such images for their application in a new historical situation (for example, the images of Prometheus, Don Quixote, etc.).
Goethe and Schiller wrote about Don Quixote, and the German romantics were the first to define it as a work of deep and comprehensive philosophical perception of the world.
Don Quixote is one of the most famous “eternal images”. It has a long history of interpretation and reinterpretation.
Eternal images are literary characters that have been repeatedly embodied in the art of different countries, different eras and have become “signs” of culture: Prometheus, Don Juan, Hamlet, Don Quixote, Faust, etc. Traditionally, mythological, biblical, and legendary characters are considered eternal images (Napoleon, Joan of Arc), if these images were used in literary works. Often those characters whose names have become generalized names for certain phenomena, human types are included in the “eternal images”: Plyushkin, Manilov, Cain.
Key concepts: chivalric romances, moral obligation, humanist, Renaissance, ideals.
G. Gogol, working on “Dead Souls,” was guided by this novel. F. Dostoevsky called it a book that “... is given to humanity one at a time every few hundred years.”
Cervantes was a great humanist, the high ideals of the Renaissance were close to him, but he lived and created at a time when illusions about the revival of the “golden times” were melting. In Spain this process was perhaps more painful. Therefore, the novel about Don Quixote is also a kind of revaluation of Renaissance values that have not stood the test at times. Noble dreamers failed to transform the world. The prose of life prevailed over beautiful ideals. In England, William Shakespeare showed this as a tragedy; in Spain, Cervantes portrayed it in his funny and sad novel “Don Quixote.” Cervantes does not laugh at his hero’s desire to act, he only shows that isolation from life can nullify all the efforts of the “idealist and enthusiast.” At the end of the novel, common sense wins: Don Quixote abandons his knightly romances and his plans. But the reader will forever remember the hero who tries “to do good to everyone and not to do evil to anyone.”
It is customary to call eternal images of literary heroes who, as it were, step over the boundaries of the literary work or myth that gave birth to them, and receive an independent life, embodied in the works of other authors, centuries and cultures. These are many biblical and evangelical images (Cain and Abel, Judas), ancient (Prometheus, Phaedra), modern European (Don Quixote, Faust, Hamlet). The Russian writer and philosopher D.S. Merezhkovsky successfully defined the content of the concept of “eternal images”: “There are images whose life is connected with the life of all humanity; they rise and grow with him... Don Juan, Faust, Hamlet - these images have become part of the human spirit, with him they live and will die only with him.”
What properties provide literary images with the quality of eternal? This is, first of all, the irreducibility of the content of the image to the role that is assigned to it in a specific plot, and its openness to new interpretations. “Eternal images” must be to some extent “mysterious”, “bottomless”. They cannot be fully determined either by the social and everyday environment, or by their psychological characteristics.
Like a myth, the eternal image is rooted in more ancient, sometimes archaic layers of culture. Almost every image considered eternal has a mythological, folklore or literary predecessor.
"KARPMAN'S" TRIANGLE: EXECUTIONER, VICTIM AND RESCUE
There is a triangle of relationships - the so-called Karpman Triangle, consisting of three vertices:
Savior
Persecutor (Tyrant, Executioner, Aggressor)
Victim
This triangle is also called a magic triangle, because once you get into it, its roles begin to dictate the participants’ choices, reactions, feelings, perceptions, sequence of moves, and so on.
And most importantly, the participants freely “float” in this triangle according to their roles.
The Victim very quickly turns into a Persecutor (Aggressor) for the former Savior, and the Savior very quickly becomes the Victim of the former Victim.
For example, there is someone suffering from something or someone (this “something” or “someone” is the Aggressor). And a sufferer (sufferer) is, like, a Victim.
The Victim quickly finds a Savior (or saviors), who (for various reasons) tries (or rather, tries) to help the Victim.
Everything would be fine, but the Triangle is magical, and the Victim does not need deliverance from the Aggressor at all, and the Savior does not need the Victim to stop being a victim. Otherwise she won't need him. What is a Savior without sacrifice? The victim will be “cured”, “delivered”, who is to be saved?
It turns out that both the Savior and the Victim are interested (unconsciously, of course) in ensuring that virtually everything remains the same.
The victim must suffer, and the Savior must help.
Everyone is happy:
The Victim receives his share of attention and care, and the Savior is proud of the role he plays in the life of the Victim.
The Victim pays the Savior with recognition of his merits and role, and the Savior pays the Victim for this with attention, time, energy, feelings, etc.
So what? - you ask. Still happy!
No matter how it is!
The triangle doesn't stop there. What the victim receives is not enough. She begins to demand and draw more and more of the Savior’s attention and energy. The Savior tries (on a conscious level), but nothing works out. Of course, on an unconscious level, he is not interested in helping FINALLY, he is not a fool, to lose such a tasty process!
He doesn’t succeed, his condition and self-esteem (self-esteem) decrease, he becomes ill, and the Victim continues to wait and demand attention and help.
Gradually and imperceptibly, the Savior becomes a Victim, and the former Victim becomes a Persecutor (Aggressor) for her former Savior. And the more the Savior invested in the one he saved, the more, by and large, he owes her. Expectations are rising, and he MUST fulfill them.
The former victim is increasingly dissatisfied with the Savior who “did not live up to her expectations.” She is becoming more and more confused about who the aggressor really is. For her, the former Savior is already to blame for her troubles. Somehow, a transition occurs imperceptibly, and she is almost consciously dissatisfied with her former benefactor, and already blames him almost more than the one whom she previously considered her Aggressor.
The former Savior becomes a deceiver and a new Aggressor for the former Victim, and the former Victim organizes a real hunt for the former Savior.
But that is not all.
The former idol is defeated and overthrown.
The victim is looking for new Saviors, because the number of Aggressors has increased - the former Savior did not live up to expectations, by and large, deceived her, and must be punished.
The former Savior, being already a Victim of his former Victim, exhausted in attempts (no, not to help, he now cares only about one thing - to be able to save himself from the “victim”) - begins (already like a true victim) to look for other saviors - both for himself and for his former Victim. By the way, these can be different Saviors - for the former savior and the former victim.
The circle is expanding. Why is the triangle called magic, because:
1. Each participant is in all its corners (plays all the roles in the triangle);
2. The triangle is designed in such a way that it involves more and more new members of the orgy.
The former Savior, used, is thrown away, he is exhausted, and can no longer be useful to the Victim, and the Victim sets out in search and pursuit of new Saviors (its future victims)
From the Aggressor's point of view, there are also interesting things here.
The aggressor (the real aggressor, the one who considers himself an aggressor, a persecutor) as a rule, does not know that the Victim is not really a victim. That she is not really defenseless, she just needs this role.
The Victim very quickly finds Saviors, who “suddenly” appear on the path of the “Aggressor”, and he very quickly becomes their Victim, and the Saviors turn into Persecutors of the former Aggressor.
This was perfectly described by Eric Berne using the example of the fairy tale about Little Red Riding Hood.
The cap is the “Victim”, the wolf is the “Aggressor”, the hunters are the “Saviours”.
But the tale ends with the wolf's belly ripped open.
An alcoholic is a victim of Alcohol. His wife is the Savior.
On the other hand, the Alcoholic is an Aggressor for his wife, and she is looking for a savior - a narcologist or psychotherapist.
On the third hand, for an alcoholic his wife is the Aggressor, and his Savior from his wife is alcohol.
The doctor quickly turns from a Savior into a Victim, since he promised to Save both his wife and the alcoholic, and even took money for it, and the alcoholic’s wife becomes his Persecutor.
And the wife is looking for a new Savior.
And by the way, the wife finds a new offender (Aggressor) in the person of the doctor, because he offended and deceived her, and did not fulfill his promises by taking the money.
Therefore, the wife can begin the Persecution of the former Savior (doctor), and now the Aggressor, finding new Saviors in the form of:
1. Media, judiciary
2. Girlfriends with whom you can wash the bones of the doctor (“Oh, these doctors!”)
3. A new doctor who, together with his wife, condemns the “incompetence” of the previous doctor.
Below are signs by which you can recognize yourself when you find yourself in a triangle.
Feelings experienced by event participants:
Victim:
Feeling helpless
hopelessness,
coercion and infliction,
hopelessness,
powerlessness,
worthlessness,
no one needs
own wrongness
confusion,
ambiguities,
confusion,
frequent wrongness
own weakness and infirmity in the situation
self pity
Savior:
Feeling pity
desire to help
own superiority over the victim (over the one he wants to help)
greater competence, greater strength, intelligence, greater access to resources, “he knows more about how to act”
condescension to the one he wants to help
a feeling of pleasant omnipotence and omnipotence in relation to a specific situation
confidence that it can help
the conviction that he knows (or at least can find out) exactly how this can be done
inability to refuse (inconvenient to refuse help, or to leave a person without help)
compassion, a sharp, aching feeling of empathy (note, this is a very important point: the Savior is associated with the Victim! Which means he can never truly help her!)
responsibility FOR another.
Aggressor:
Feeling right
noble indignation and righteous anger
desire to punish the offender
desire to restore justice
offended pride
the conviction that only he knows how to do it right
irritation at the victim and even more so at the saviors, whom he perceives as an interfering factor (the saviors are mistaken, because only he knows what to do right now!)
the thrill of the hunt, the thrill of the chase.
The victim suffers.
Savior - saves and comes to the rescue and rescue.
The aggressor punishes, persecutes, teaches (teaches a lesson).
If you find yourself in this “magic” triangle, then know that you will have to visit all the “corners” of this triangle and try all its Roles.
Events in the triangle can take place as long as desired - regardless of the conscious desires of their participants.
The alcoholic's wife does not want to suffer, the alcoholic does not want to be an alcoholic, and the doctor does not want to deceive the alcoholic's family. But everything is determined by the result.
Until at least someone jumps out of this damned triangle, the game can continue as long as desired.
How to jump out.
Typically, the manuals give the following advice: invert the roles. That is, replace the roles with others:
The aggressor must become a Teacher for you. The phrase I tell my students: “Our enemies, and those who “disturb” us,” are our best trainers and teachers)
Savior - Assistant or at most - Guide (you can - a trainer, like in a fitness club: you do it, and the trainer trains)
And the Victim is a Student.
These are very good tips.
If you find yourself playing the role of a Victim, start learning.
If you find yourself playing the role of the Savior, give up the stupid thoughts that the one “who needs help” is weak and weak. By accepting his thoughts like this, you are doing him a disservice. You do something FOR him. You are preventing him from learning something important to him on his own.
You cannot do anything for another person. Your desire to help is a temptation, the victim is your tempter, and you, in fact, are the tempter and provocateur for the one you are trying to help.
Let the person do it himself. Let him make mistakes, but these will be HIS mistakes. And he will not be able to blame you for this when he tries to move into the role of your Persecutor. A person must go his own way.
The great psychotherapist Alexander Efimovich Alekseychik says:
“You can only help someone who does something.”
And he continued, turning to the one who was helpless at that moment:
“What are you doing so that he (the one who helps) can help you?”
Great words!
In order to get help, you must do something. You can only help with what you do. If you don't do it, you can't be helped.
What you do is where you can get help.
If you are lying down, you can only be helped to lie down. If you are standing, you can only be helped to stand.
It is impossible to help a person who is lying down to stand up.
It is impossible to help a person get up who doesn’t even think about getting up.
It is impossible to help a person who is just thinking about getting up to stand up.
It is impossible to help a person who just wants to get up to stand up.
You can help the person who is getting up to stand up.
You can only help someone who is looking to find it.
You can only help someone who is walking to walk.
What is this girl DOING that you are trying to help her with?
Are you trying to help her with something she doesn't do?
Does she expect you to do something that she herself does not do?
So does she really need what she expects from you if she doesn’t do it herself?
You can only help the person who gets up to stand up.
“Getting up” means making an effort to get up.
These efforts and specific and unambiguous actions are observable; they have specific and indistinguishable signs. They are easy to recognize and identify precisely because of the signs that a person is trying to get up.
And one more thing, in my opinion, very important.
You can help a person stand up, but if he is not ready to stand (not ready for you to remove the support), he will fall again, and the fall will be many times more painful for him than if he continued to lie down.
What will a person do after being in an upright position?
What is the person going to do after this?
What is he going to do about it?
Why does he need to get up?
How to jump out.
The most important thing is to understand in what Role you entered the triangle.
Which corner of the triangle was your entrance to it.
This is very important and is not covered in the manuals.
Entry points.
Each of us has habitual or favorite Role-entrances to such magic triangles. And often in different contexts each has its own inputs. A person at work may have a favorite entrance to the triangle - the Role of the Aggressor (well, he loves to restore justice or punish fools!), and at home, for example, a typical and favorite entrance is the Role of the Savior.
And each of us should know the “points of weakness” of our personality, which simply force us to enter into these favorite roles.
It is necessary to study the external lures that lure us there.
For some, it’s someone’s trouble or “helplessness,” or a request for help, or an admiring look/voice:
"Oh, great one!"
"Only you can help me!"
"I'll be lost without you!"
You, of course, recognized the Savior in white robes.
For others, it is someone else's mistake, stupidity, injustice, incorrectness or dishonesty. And they bravely rush to restore justice and harmony, falling into a triangle in the role of Aggressor.
For others, it may be a signal from the surrounding reality that it does not need you, or it is dangerous, or it is aggressive, or it is heartless (indifferent to you, your desires or troubles), or it is poor in resources just for you, at this very moment . These are those who like to be Victims.
Each of us has our own decoy, the lure of which is very difficult for us to withstand. We become like zombies, showing heartlessness and stupidity, zeal and recklessness, falling into helplessness and feeling that we are right or worthless.
The beginning of the transition from the role of Savior to the role of Victim - a feeling of guilt, a feeling of helplessness, a feeling of being forced and obligated to help and the impossibility of one’s own refusal (“I am obliged to help!”, “I have no right not to provide help!”, “What will they think of me, how What will I look like if I refuse to help?").
The beginning of the transition from the role of Savior to the role of Persecutor is the desire to punish the “bad”, the desire to restore justice that is not directed at you, a feeling of absolute self-righteousness and noble righteous indignation.
The beginning of the transition from the role of Victim to the role of Aggressor (persecutor) is a feeling of resentment and injustice committed against you personally.
The beginning of the transition from the Role of the Victim to the role of the Savior - the desire to help, pity for the former Aggressor or Savior.
The beginning of the transition from the role of Aggressor to the role of Victim is a sudden (or growing) feeling of helplessness and confusion.
The beginning of the transition from the role of Aggressor to the role of Savior is a feeling of guilt, a feeling of responsibility FOR another person.
In fact:
It is VERY pleasant for the Savior to help and save; it is pleasant to stand out “in white robes” among other people, especially in front of the victim. Narcissism, narcissism.
It is very pleasant for the victim to suffer (“like in the movies”) and to be saved (to accept help), to feel sorry for himself, earning future non-specific “happiness” through suffering. Masochism.
It is very pleasant for an aggressor to be a warrior, to punish and restore justice, to be a bearer of standards and rules that he imposes on others, it is very pleasant to be in shining armor with a fiery sword, it is pleasant to feel one’s strength, invincibility and rightness. By and large, someone else’s mistake and wrongness for him is a legitimate (legal and “safe”) reason (permission, right) to commit violence and cause pain to another with impunity. Sadism.
The Savior knows how...
The aggressor knows that this cannot be done...
The victim wants, but cannot, but more often than not he doesn’t want anything, because he’s had enough of everything...
And another interesting diagnostic method. Diagnostics based on the feelings of observers/listeners
The observers' feelings may suggest what role the person telling you or sharing the problem is playing.
When you read (listen) to the Savior (or watch him), your heart is filled with pride for him. Or - with laughter, what a fool he has made of himself with his desire to help others.
When you read texts written by the Aggressor, you are overcome with noble indignation, either towards those about whom the Aggressor writes, or towards the Aggressor himself.
And when you read texts written by the Victim or listen to the Victim, you are overcome with acute mental pain FOR THE VICTIM, acute pity, desire to help, powerful compassion.
And don't forget
that there are no Saviors, no Victims, no Aggressors. There are living people who can play different roles. And each person falls into the trap of different roles, and happens to be at all the vertices of this enchanted triangle, but still, each person has some inclinations towards one or another vertex, a tendency to linger on one or another vertex.
And it is important to remember that the entry point into the triangle (that is, what drew a person into a pathological relationship) is most often the point at which a person lingers, and for the sake of which he “flew” into this triangle. But this is not always the case.
In addition, it is worth remembering that a person does not always occupy exactly the “top” that he complains about.
The “Victim” can be the Aggressor (Hunter).
The "Savior" may actually play, tragically and to the death, the role of Victim or Aggressor.
In these pathological relationships, as in Carroll’s famous “Alice...”, everything is so confused, upside down and deceitful that IN EACH CASE one requires quite careful observation of all participants in this “triangular round dance”, including oneself too - even if you are not part of this triangle.
The power of the magic of this triangle is such that any observer or listener begins to be drawn into this Bermuda triangle of pathological relationships and roles (c.)
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