Shakespeare's hero. William Shakespeare characters: the most famous

Title page of the English edition of the Heath Charles album

When I read in the scroll of dead years
About fiery lips, long silent,
About the beauty that makes up the verse
For the glory of ladies and beautiful knights,

In any line to your beautiful lady
The poet dreamed of predicting you,
But he couldn’t convey all of you,

Staring into the distance with loving eyes.
And to us, to whom you are finally close, -
Where can I get a voice to sound for centuries?

W. Shakespeare

Ophelia from the tragedy "Hamlet"

"The Merry Wives of Windsor"

Anna Page

Mrs. Page

Mrs Ford

"Twelfth Night, or Whatever?" (Twelfth Night, or What You Will)

Her eyes are not like stars
You can't call your mouth coral,
The open skin of the shoulders is not snow-white,
And a strand curls like black wire.
With damask rose, scarlet or white,
You can't compare the shade of these cheeks.
And the body smells like the body smells,
Not like a violet's delicate petal.

You won't find perfect lines in it,
Special light on the forehead.
I don't know how the goddesses walk,

But the darling steps on the ground.
And yet she will hardly yield to those
Who was slandered in comparisons of magnificent people.

W. Shakespeare

"As You Like It" or "As You Like It"

"Measure for Measure"

Isabel

Marianne

King Henry VIII

Ann Bolein

Queen Catherine

In that external thing that the gaze finds in you,
There is nothing that I want to fix.
Enmity and friendship are a common verdict
He cannot add a dash to the truth.
For appearance - appearance and honor.
But the voice of the same incorruptible judges
It sounds different when it comes to
About the properties of the heart, inaccessible to the eye.
Rumor speaks of your soul.
And the mirror of the soul is its actions.
And the weeds drown out
The fragrance of your sweetest roses.

Your tender garden is neglected because
That it is available to everyone and no one.

W. Shakespeare

"Much Ado About Nothing"

Beatrice

"The Tragedy of Coriolanus"

Virgilia

"Othello, the Moor of Venice" (The Tragedy of Othello, The Moor of Venice)

Desdemona

The Merchant of Venice

Jessica

"Romeo and Juliet"

Juliet

"All's Well That Ends Well"

"Cymbeline"

"Antony and Cleopatra"

Cleopatra

"King John" (The Life and Death of King John)

Constance

"King Lear"

Cordelia

The heart and the eye have a secret agreement:
They ease each other's pain,
When the eye searches for you in vain
And the heart suffocates in separation.

Your image is a keen eye
Gives your heart plenty to admire.
And the heart to the eye at its appointed hour
Love's dreams give way.

So in my thoughts or in the flesh
You are in front of me in any moment.
You can go no further than your thoughts.
I am inseparable from her, she is inseparable from you.

My gaze pictures you even in my dreams
And awakens the heart sleeping inside me.

W. Shakespeare

"Troilus and Cressida"

Cressida

"Titus Andronicus"

"Richard III"

Lady Anna

"King Henry VI"

Lady Gray

Margaret

Queen Margaret

"King Henry IV" (Henry IV)

Lady Percy

"Macbeth" (The Tragedy of Macbeth)

Lady Macbeth

"The Tempest"

"The Winter's Tale"

"Julius Caesar"

Portia, wife of Brutus

"Love's Labour's Lost"

French princess

My eye became an engraver and your image
Imprinted truthfully on my chest.
Since then I have served as a living frame,
And the best thing about art is perspective.

Look through the master at the skill,
To see your portrait in this frame.
The workshop that keeps it,
Glazed with beloved eyes.

My eyes are so friendly with yours,
I paint you with mine in my soul.
Through yours from heavenly heights
The sun peeks into the workshop.

Alas, to my eyes through the window
It is not possible to see your heart.

Poroikov S.Yu.
Characters of Shakespeare's heroes. - M.: INFRA-M (Scientific Thought), 2014.

Reviewers:
Doctor of Philology, prof. THOSE. Vladimirova;
Doctor of Psychological Sciences, prof. L.A. Grigorovich

The characters of William Shakespeare are considered. The general principles of constructing the plots of his tragedies and comedies are analyzed. A comparative analysis of the plots of Shakespeare's plays and dramatic works of A.S. was carried out. Pushkin, which incorporated the principles of Shakespeare’s dramatic system.

INTRODUCTION

William Shakespeare is the most famous writer in the entire history of English literature, recognized as one of the world's greatest classics. Even the playwright's contemporaries noted the extraordinary power of the impact of his plays on the audience. Shakespeare's plays have not left the theater stage for more than four centuries. His works enjoy constant popularity among readers around the world. In terms of the total number of copies published, Shakespeare's books are second only to the Bible. What is the secret of the colossal popularity of Shakespeare's work?
Shakespeare's dramatic system is by no means simple. It is known that K.S. Stanislavsky, comprehending the “ultimate task” of the tragedy “Hamlet,” emphasized that his interpretation of the play is fundamentally different from the generally accepted one. The great Russian director did not have time to complete work on the production of Hamlet, despite many years of work. What key to unlocking Shakespeare's dramatic system was the founder of the acting system of the same name trying to find?
There are many other questions associated with the name of the playwright. For example, the topic concerning the authorship of plays attributed to Shakespeare is still debated. Many researchers have tried to find answers to such questions. Let us present the opinion of one of the most famous connoisseurs and experts in the work of the British playwright - A.S. Pushkin, whose importance for Russian literature is as difficult to overestimate as the role of Shakespeare in English literature.
It is known that Pushkin was extremely receptive to the achievements of various cultures, both Eastern and Western. The phenomenon of Shakespeare did not go unnoticed by the writer. A number of Pushkin's letters and notes contain comments regarding the work of the British playwright. “Many of the tragedies attributed to Shakespeare do not belong to him, but were only corrected by him,” the writer states in the note “On Shakespeare’s Romeo and Juliet.” Meanwhile, according to Pushkin, Shakespeare subjected the borrowed sources to serious creative revision. In the plays of the playwright, “many traces of his free and broad brush” are found everywhere. Note that Pushkin himself acted in a similar way when compiling cycles of fairy tales and “Little tragedies”. The writer processed a number of famous works, editing their plots.
It is estimated that the British playwright borrowed plots from thirty-four of his thirty-seven plays. In other words, in most cases, Shakespeare does not act as the author of works, but as the compiler of their respective versions. At the same time, the fact of borrowing in no way detracts from the merits of Shakespeare’s works. It was in the edition of the British playwright that the corresponding works received the greatest fame.
For example, the plot of the Danish saga “Hamlet”, the hero of which avenges his father, served as a prototype for Shakespeare’s tragedy of the same name. The version of this legend that is closest to Shakespeare's is contained in Saxo Grammar. It tells of a prince named Amleth, his murdered father, a usurper uncle, and how Amleth feigned madness while plotting revenge, which he successfully carried out.
For comparison, one of the researchers of the playwright’s work states that “Shakespeare’s play Romeo and Juliet is a dramatization of the famous love story, over which young people shed a sea of ​​​​tears long before its appearance.” The story "Romeo and Juliet" was first published in 1476 in an Italian collection of short stories compiled by Masuccio Salernitano. Three decades later, Luigi da Porto reworked the story, creating a version close to Shakespeare's version. An English translation of The Tragic History of Romeo and Juliet was published in 1562. Shakespeare not only strictly adhered to the plot of this story, but even retained the names of the characters. Meanwhile, this touching story became known to the general public thanks to Shakespeare.
It should be noted that plays with so-called “passing” plots had particular success with the public. By basing the play on a plot that was invariably popular, one could count on a guaranteed box office success of the theatrical production. Let us recall that in Shakespeare's time in London there were several theaters competing with each other in the struggle for audience choice and wallets.
As already mentioned, Shakespeare borrowed not only the plots, but also the characters of his plays. The characters in Shakespeare's plays were often mythologized images. For example, the prototype of King Lear was one of the figures of Celtic mythology - Lear was the god of the sea who had daughters. The plot of the play “The Two Gentlemen of Verona” is largely determined by the variability of the character of its hero, Proteus. In Greek mythology, Proteus appears as a deity who can take on different forms. The characters in Shakespeare's Greek plays are Venus and Adonis, Troilus and Cressida, Pericles, and other legendary characters. A number of heroes of Roman and English Shakespearean plays are historical or semi-legendary characters.
Eight of Shakespeare's plays are dedicated to ancient Greek mythology, history Ancient Rome- five. In his work, the playwright widely used not only the works of ancient authors, but also folk tales and legends. Meanwhile, this alone testifies to the archetypal nature of the plots and characters chosen by Shakespeare. Thus, according to C. Jung, archetypes “were projected ... in legends and fairy tales or on historical characters". It is known that Jung himself resorted to analyzing the characters of heroes of ancient mythology in order to highlight archetypal characters. Simplified images are reflected in myths real events And historical figures. Meanwhile, such a simplification emphasizes the most characteristic, universal phenomena of reality.
The presence of archetypal figures in Shakespeare's plays explains the power of the emotional impact of his productions on the audience. According to Jung, archetypes unconsciously evoke a strong emotional response in a person. Pushkin pointed out that the characters described by Shakespeare are typical. In a letter to N.N. The writer noted to Ryleev that the British playwright created a gallery of recognizable human characters: “I imitated Shakespeare in his free composition of types and simplicity.” A characterological analysis of the characters in Shakespeare's plays shows that they correspond to well-known psychological types.
One of the reasons for the popularity of Shakespeare's plays is undoubtedly the psychological authenticity of the characters he created. In the article “About Shakespeare” Pushkin reveals one of Shakespeare’s techniques realistic image characters: “The persons created by Shakespeare are not ... types of such and such a passion, such and such a vice, but living beings, filled with many passions, many vices: circumstances develop before the viewer their diverse and multifaceted characters.” In fact, the images created by Shakespeare are multifaceted. Each of Shakespeare's characters has a distinctive set of traits. His heroes are driven by certain aspirations. Characters tend to experience characteristic emotions and experiences. The behavioral features of the characters in the plays are conveyed extremely vividly and naturalistically, right down to the finest nuances. At the same time, with all the detail in the description of the characters’ characters, the integrity of their images is achieved.
Shakespeare strived for an authentic portrayal of human characters. High degree The naturalism of Shakespeare's characters testifies to the highest level of psychological skill of the playwright. Through the mouth of Hamlet, Shakespeare testifies that the true purpose of theater is to be a “mirror” reflecting true human nature:
“Violation of the measure deviates from the purpose of the theater, the purpose of which at all times has been and will be: to hold ... a mirror in front of nature.”
Shakespeare's desire to create authentic images of characters is emphasized by the fact that a number of his heroes have real prototypes. A striking example serves as a cycle of English historical plays, dedicated to British monarchs, of which the most famous is “King Richard III”. Macbeth, the hero of Shakespeare's tragedy of the same name, was a real historical figure, the ruler of Scotland. An indication that Macbeth actually encountered something supernatural is found in Holinshed.
Exploring the characteristic literary and artistic Shakespearean techniques, Pushkin identified a certain “dramatic system,” which he reports in the note “On Shakespeare’s Romeo and Juliet.” The writer was so interested in Shakespeare’s “system” that he decided to create his own cycle of dramatic works. Pushkin turned to prose, already being a famous poet, which caused considerable surprise to some of his contemporaries. His first dramatic work was “Boris Godunov”. “I arranged my tragedy according to the system of our father, Shakespeare,” writes Pushkin in one of his letters to Raevsky. Indeed, in “Boris Godunov” and “Hamlet” there are similarities in the themes revealed and the structure of the plots.
In total, Pushkin creates seven dramatic works. In addition to “Boris Godunov”, he writes five “Little Tragedies”, as well as “Scenes from Knightly Times”. The peculiarity of these works is that their storylines are not reducible to each other. At the same time, the plots of Pushkin’s works are based on the same principles that Shakespeare used in his plays. In this sense, the cycle of Pushkin’s dramatic works represents a kind of quintessence creative heritage Shakespeare, which absorbed the essence of his dramatic system.
Simultaneously with “Little Tragedies”, in the autumn of Boldin 1830, Pushkin wrote “Belkin’s Tales”, and in the last years of his life he created a series of seven fairy tales. In these Pushkin cycles, which are different in genre, both similar principles of plot construction and character types can be traced. In addition, the idea of ​​one of Pushkin’s works is conveyed by N.V. Gogol.
In the “Author's Confession”, Gogol testifies: being amazed by “the ability to guess a person and with a few features suddenly make him appear as if he were alive,” Pushkin “gave me his own plot... which, according to him, he would not have given to anyone else. This was the plot of Dead Souls." Realizing the significance of Pushkin’s plan, Gogol, in a letter to V. Zhukovsky, considers “ Dead Souls"nothing other than" sacred testament» Pushkin. In one work, Gogol managed to embody a whole gallery of recognizable human characters. At the same time, the author of “Dead Souls” himself directly points to the typicality of the images he embodied:
“Nozdryov will not leave the world for a long time. He’s everywhere between us and maybe he’s just wearing a different caftan.”
Like Shakespeare, Pushkin borrowed the plots of most of his tragedies and fairy tales, subjecting them to certain processing. Gogol did the same. In this case, the role of the authors was reduced to adjusting the original samples in order to give them a literary and artistic form that corresponded to their individual creative intent. Thus, we can talk about the existence of a centuries-old tradition of depicting typical characters associated with a certain kind of plot.
Priority in describing typical characters could be given to Shakespeare. It was from him that Pushkin learned to “compose types,” purposefully structuring the corresponding types within the framework of special cycles of works. At the same time, there is reason to believe that Shakespeare was not the founder of the corresponding tradition, but only its continuer.
Let us remember that the heyday of Shakespeare's creative genius occurred during the Renaissance - the period of the passionary explosion of medieval Europe. His contemporaries were such titans of thought and spirit as Leonardo da Vinci, Michelangelo, Raphael. IN Shakespearean plays the general tendency for that time towards the assimilation of cultural heritage great ancient civilizations that were the cradle European culture. Indeed, a stable set of subjects and artistic images was adopted by Europe from Ancient Greece and Ancient Rome. Shakespeare's works corresponded to the general tradition of contemporary society turning to its cultural and historical origins. Shakespeare began his creative career by imitating the productions of ancient authors. His first play, The Comedy of Errors, is a reworking of the Roman playwright Plautus's Menaechmas. It seems that it was precisely the borrowing of plots and characters that have been traditional since antiquity that allowed Shakespeare to reveal a layer of truly archetypal phenomena.
As already noted, plays with “passing” plots, where the characters were recognizable characters, enjoyed particular success with the public. Thereby theatrical stage, whose history already spanned two millennia by the time of Shakespeare, essentially became a natural environment for polishing archetypal images and plots, which were distinguished by their special power of influence on the viewer.
The action of Shakespeare's plays develops in a certain way, following the laws of ancient drama. In performances that are diverse in artistic style, costumes and scenery corresponding to a particular era may change. The theatrical production itself is colorful and multifaceted. But the gallery of typical human characters and destinies remains unchanged. As Shakespeare testifies, theater is a kind of projection of real life, its reflection:
“The whole world is a theater. There are women, men, all actors. They have their own exits and exits. And everyone plays more than one role.”
Each of Shakespeare's characters is assigned a specific role, in accordance with his character and worldview. The key to understanding the characters of Shakespeare's heroes is to understand the aspirations that drive them. The motives of the characters predetermine the roles they play and the scenarios of their behavior, thereby influencing the development of plots. In this context, it is appropriate to mention the textbook statement of the outstanding Russian psychologist A.N. Leontiev that the hierarchy of motives constitutes the core of personality. Note that the systematization of character types reflected in Shakespeare's plays correlates with the well-known classifications of personality needs; ; ; .
Turning to works of world fiction in order to describe the characters often found among literary heroes is a typical phenomenon in psychology. Thus, in order to classify psychological types, K. Leongard conducted a characterological analysis of the characters in the works of over thirty writers, including Shakespeare, Gogol, Dostoevsky, Tolstoy. “Many writers are known to be excellent psychologists. Being very observant, they have the ability to penetrate inner world person,” Leonhard pays tribute to the psychological mastery of the classics of world literature. “What appears before us is not abstract reasoning, but concrete images of people with their thoughts, feelings, and actions.” The use of literary characters as visual illustrations of psychological types has become a generally accepted phenomenon. For example, in the “Handbook of a Practical Psychologist” Shakespeare’s Hamlet is given as an example of one of the personality types.
In his works, Shakespeare raises questions for which ancient philosophers were looking for answers, such as the problem of predetermination of fate or free will. For example, the theme of predestination runs through the entire tragedy of Macbeth. human destiny, the inevitability of retribution for what was done. The characters in the play “The Merchant of Venice” are faced with a choice when their future lives depend on the will of the characters. The theme of unity and division permeates the tragedy of Romeo and Juliet. The characters in the tragedy "Othello" are faced with the problem of distinguishing between the secret and the obvious. The heroes of the comedy “Love's Labour's Lost” face both solvable and insoluble problems. The play “Two Gentlemen of Verona” reveals the theme of interpersonal human relationships.
The tragedy Hamlet occupies a special place among Shakespeare's plays. This is a deep and multifaceted work that raises all the questions listed above at once. Besides, important role The play is devoted to the theme of the creative development of the personality of its protagonist. The topic of the relationship between man and the world around him is also raised, which corresponds to the well-known problem of the role of the individual in history.
Similar themes are reflected by Pushkin in his dramatic works, as well as in cycles of stories and fairy tales. The questions addressed by Shakespeare, and after him by Pushkin, are truly eternal. Finding answers to them is vitally important for every person, and therefore such topics will never cease to worry people. This seems to be one of the reasons for the enduring demand for the works of both classics of world literature.
Shakespeare's characters live by certain principles. The ways in which the heroes of each play behave are as different as their characters. Studying the principles that Shakespeare's characters follow allows us not only to describe their characters, but also to understand why certain traits appear in a certain situation. Pushkin’s characters are also guided by similar principles, which indicates the typicality of such methods of behavior.
The fates of Shakespeare's heroes develop differently. Some of them manage to achieve what they want. Someone, like the old woman from Pushkin’s “Tale of the Fisherman and the Fish,” remains with a “broken trough.” Disclosure of life principles that predetermine human destinies on clear example his heroes is one of Shakespeare's most important achievements. “What develops in a tragedy? What is its purpose? Man and the people are human destiny,” Pushkin notes in one of his notes. “That’s why Shakespeare is great.”
The plots of Shakespeare's plays are built on the basis of certain principles. Similar principles underlie the plots of works from Pushkin's cycles of tragedies, stories and fairy tales; . The fates of the heroes of both authors develop not in a random, but in a natural way. They seem to be subject to certain laws that predetermine the natural course of things. Characters who follow these laws achieve success and find happiness. The fate of those who interfere with the natural course of things, disrupting it, ultimately turns out to be tragic.
Just a cursory review of what is reflected in Shakespeare's plays shows that their author is not only a brilliant writer, but also an outstanding thinker. It should be recognized that to this day the scale of the creative heritage of the successor and successor of the Shakespearean dramatic system, Pushkin, has also not been fully appreciated. This was also pointed out by Baratynsky, who was the first to call Pushkin a “thinker.” At the same time, the importance of Shakespeare and Pushkin as thinkers is comparable in scale to the figures of Tolstoy and Dostoevsky. It is no coincidence that Dostoevsky called Pushkin “a great and still misunderstood forerunner.” Tolstoy considered Pushkin’s prose an “unsurpassed school.” Meanwhile, at the origins of this school is the great British playwright, according to figuratively Pushkin, “our father is Shakespeare.”
The analysis carried out in this work shows that Shakespeare's plays were created in accordance with a single concept, constituting an integral dramatic system. This system provides for the disclosure certain topics, selection of typical plots, description of the corresponding types of human characters. The author of the corresponding works could be one person who realized his creative plan, following specific system.
The characters of Shakespeare's heroes are conveyed extremely realistically, down to the finest psychological nuances. Such plays could have been written by a person capable of subtly feeling and experiencing emotional states different people. This art could be mastered by an actor who has the art of transformation and getting into character, who knows how to feel “in the shoes” of another person.
In addition, the author of the plays owned basic principles dramaturgy and was well acquainted with the peculiarities of theatrical productions. This is a professional in his field, whose works successfully competed with the plays of others famous authors. For example, several years before the production of Shakespeare's Hamlet at the Globe Theater, the tragedy of the then popular playwright Thomas Kyd was already taking place on one of the London stages, the plot of which was reminiscent of the story of the Prince of Denmark.
The author of the corresponding plays, without a doubt, is a well-educated person who knows not only English, but also ancient history and literature. This circumstance is noted by many researchers of Shakespeare's work.
The figure of the historical W. Shakespeare fully meets all the above criteria. It is known that Shakespeare began writing plays after first working in the theater as an actor. While still at school, young William became interested in theater and participated in productions of plays by ancient authors. Seven years of study at Stratford Grammar School allowed him to receive an excellent education for that time. It is enough to mention this detail: bachelors from Oxford University worked as teachers at the Stratford School. All this gives quite strong reasons to assert that the plays attributed to Shakespeare really belong to his pen.

2.2. TYPICALITY OF SHAKESPEARE'S HEROES

A characterological analysis of Shakespeare's heroes shows that they are characterized by certain sets of aspirations. We can distinguish seven types of characters who are characterized by needs of a certain kind. In each of these types, a certain variety of characters is distinguished, differing from each other both in the types of aspirations and in the ways of realizing their intentions.
A gallery of similar psychological portraits is reflected in the cycles of Pushkin’s dramas and fairy tales, which include seven works each. Similar types are also depicted by Pushkin in the cycle “Belkin’s Tales”. Similar character types are presented in " Dead souls» N.V. Gogol in the person of the main character Chichikov, five landowners, as well as captain Kopeikin. Thus, the characterological analysis of literary heroes of a number of classical authors reveals a certain tradition images of psychological types. Note that the characters in many of Pushkin's fairy tales and dramas are borrowed, as are the heroes of most of Shakespeare's plays. This gives reason to say that such images are characteristic of world literature as a whole, and therefore are typical.
A comparative analysis of Shakespeare's plays and the cycles of Pushkin's works shows that the heroes of both authors have characteristic behavior scenarios. The characters in “Dead Souls” by N.V. behave in a similar way. Gogol. This indicates the typicality of the corresponding behavior scenarios. These principles of behavior are revealed through known philosophical principles and laws, which indicates their universal character.

2.2.1. Typical character aspirations

CONCLUSION

The analysis of Shakespeare's plays carried out in this work shows that the works of the British playwright raise important philosophical and psychological issues that remain relevant today. Truly, Shakespeare emerges as one of the greatest thinkers of his era.
The characters created by the British playwright are distinguished by their exceptional psychologism. The psychological realism of Shakespeare's heroes, in particular, is noted by the outstanding German psychologist K. Leonhard: “Shakespeare, again, has a lot of artistic exaggeration, and yet he creates an impressive picture of the psyche of people, of whom there are quite a few in reality.” Indeed, a characterological analysis of Shakespeare's characters shows that their images are psychologically clearly verified. The mental states of Shakespeare's heroes, clearly revealed in their remarks and monologues, are conveyed down to the finest nuances. This level of skill of the author can be explained by his ability to “get used to” the image of another person. It is known that the playwright participated in the production of his own plays as an actor.
The psychological authenticity of Shakespeare's heroes is so deep that it sometimes amazes the imagination. It is enough to mention the fact that the behavior of a number of Shakespearean characters corresponds to well-known patterns characteristic of neurotic personalities. It is noteworthy that Shakespeare described such types more than three centuries before this was done within the framework of psychoanalysis.
Shakespeare's works present a significant variety of images. In each of his plays, as a rule, there are from two to three dozen characters. At the same time, the characters of Shakespeare's heroes are revealed not only in their diversity, but also in all their depth and versatility. Each Shakespearean character has a certain set of characteristic traits that distinguishes him from other heroes. This approach allows you to create a realistic image of a living person, rather than a schematic image. For example, in the most psychologically complex character of Hamlet, the main character of the tragedy of the same name, several dozen traits are manifested.
Analysis of Shakespeare's characters shows that the heroes of his plays are driven by certain motives (needs). Characters experience characteristic emotions and experiences. The characters of the characters, especially the main characters, are developed in such detail that even their thinking styles and philosophy of life strategies can be traced. The peculiarities of the characters’ behavior are conveyed so vividly and naturalistically that this makes it possible to correlate some of the characters’ behavioral reactions with characteristic defensive reactions described within the framework of psychoanalysis only in the twentieth century.
Considering the diversity and completeness of the descriptions of human characters created by Shakespeare, his plays represent a kind of “atlas” of the human soul. With all the detail of the psychological description of the characters, the integrity of the created images is achieved. A characterological analysis of Shakespeare's characters reveals not only a variety of mental phenomena, but also demonstrates the relationships and connections that exist between them. The multifaceted characters of Shakespeare's heroes reflect the fusion of various aspects of human nature. At the same time, an amazing naturalism of the created images is achieved. It is striking that the descriptions of Shakespeare's characters reflect many well-known theories of personality, from Freud's theory to modern concepts, including existential analysis.
A comparative analysis of Shakespeare’s plays and the dramatic works of Pushkin, as well as Gogol’s “Dead Souls” reveals character traits characters that are typical. The typicality of such images is indicated by the fact that Shakespeare borrowed most of the characters from his plays. Psychological types in their pure form They hardly ever meet in life. Types as such are rather a kind of abstraction, a kind of coordinate system convenient for analyzing real human characters. Meanwhile, the characters of most of Shakespeare's heroes are conveyed with such skill that they are perceived as real persons, evoking a lively response and empathy for their fate. It can be assumed that when working on the characters of the heroes, Shakespeare used specific prototypes, describing people known to him, his contemporaries.
The world created by Shakespeare is populated by fictional literary characters. This world is as speculative and illusory as the world of the theater. In this sense, Shakespeare is likened to Hamlet, who stages a theatrical production of a “mousetrap.” In the scene of the “murder of Gonzago”, the prince, using the artistic means available to him, reproduces the events that actually happened. By implementing the production of a play within a play, Hamlet himself becomes the creator of an imaginary reality, like his creator Shakespeare. In this case, the author of the production appears as a subjective observer contemplating the reality he himself created.
At the same time, the action of Shakespeare's plays develops in accordance with certain laws that correspond to the natural nature of things, and therefore these laws are objective. The fates of the characters seem to depend not so much on the subjective will of the creator who created them, but on their own actions. Having acted in a certain way, the heroes come to a logical ending. Equally natural is the development of the plots of plays, in which the fates of individual characters add up to the overall mosaic of the ongoing action.
The range of manifestations of human nature in Shakespeare's plays is extremely wide. Sometimes his characters allow themselves low-grade humor, almost vulgar abuse. And at the same time, Shakespeare's characters are capable of pronouncing surprisingly deep, sublime monologues. For example, the tragedy “Romeo and Juliet” begins with a dialogue between the Capulet servants making obscene jokes at each other. They just as openly mock the servants of the hostile Montague family. Meanwhile, the finale of the play has a completely different tone, tragic and sublime. The death of Romeo and Juliet appears as a sacrifice made to heaven in the name of reconciliation between the heads of warring clans.
Thus, in the structure of Shakespearean tragedy there is a transition from the low to the sublime, from the momentary to the eternal. Who made up the bulk of the audience attending the theater in Shakespeare's time? Simple artisans, city dwellers, who gave a few pence in order to escape for a while from the captivity of everyday worries, the routine of everyday life. Having come to watch a theatrical performance, they see familiar scenes from an ordinary street life. Thanks to this, contact with the viewer is quickly established. Meanwhile, the subsequent action involves the viewer in a stream of other sensations and experiences, allowing one to rise above the routine of everyday life and think about enduring values.
The theme of the struggle between good and evil runs through Shakespeare's plays. His works reflect the system of universal human values ​​and ideals that underlie any civilized society. Following universal human values ​​ultimately makes a person human. It is enough to mention the image of Hamlet, who defends the right to freedom of thought, free will, and professes humanistic ideals. In this context, the works of the British playwright acquire a special moral resonance.
The question of the authorship of the dramatic system implemented in Shakespeare's plays remains open. As the main version we are considering, its developer is Shakespeare himself. It is logical to assume that the British playwright could base his system on the principles of constructing ancient drama. At the same time, the widest range of archetypal phenomena underlying human nature is reflected in the works of Shakespeare. Shakespeare's plays describe both historical and mythological heroes, as well as subjects characteristic of folk art. We emphasize that uncovering the deep layer of archetypes inherent in folk art indicates that Shakespeare’s work is truly folk.
According to another version, Shakespeare embodied in his plays a system suggested to him by another person. Just as Pushkin later conveyed the idea of ​​“Dead Souls” to Gogol. This version is supported by the statements of a number of researchers that Shakespeare could be associated with members of secret societies who were carriers of sacred knowledge. There are known assumptions that the philosopher Francis Bacon participated in the creation of Shakespeare's plays. Thus, Pushkin, according to entries in his diary, in his youth was a member of one of Masonic lodges. Subsequently, Pushkin moved away from the ideology of Freemasonry. However, Pushkin was unable to completely avoid the influence of the Freemasons. This, among other things, is evidenced by the fatal role in the fate of the writer Georges Dantes, who was closely associated with the Freemasons.
It is symbolic that Shakespeare's Hamlet his former school friends Rosencrantz and Guildenstern were assigned to spy on him. The name Rosencrantz is consonant with the name of the Rosicrucian Order (Rose and Cross), which influenced the development of Freemasonry. It is curious that Hamlet was published in 1600, and the Rosicrucian manifesto was published no earlier than 1606. The manifesto uses the philosophical key of John Dee, the famous scientist and mystic, a contemporary of Shakespeare. Shakespeare created his first plays in the early 1590s, after he moved to London. In those years, John Dee lived there. London at that time was limited by the size of the modern city, and its population was only about two percent of its current size. Moreover, the theater in which Shakespeare served was located not far from Tower Ward, where Dee lived. Therefore, they could well have known each other. It is believed that John Dee served as the prototype for the wizard Prospero, the protagonist of Shakespeare's tragicomedy The Tempest.
The name Guildenstern translated from German (the language of the Danish kingdom belongs to the Germanic language branch) means “guild of stars.” It is known that influential secret societies, not excluding the Freemasons, sought to recruit the most prominent people of their time into their ranks. Shakespeare, without a doubt, was an outstanding personality. The Globe Theater, where his plays were staged, was the most popular theater in London, if not in all of England, in those years.
In the research carried out in this work, a number of main provisions can be highlighted.
1. Analysis of Shakespeare's plays reveals current philosophical and psychological issues. This circumstance allows us to talk about Shakespeare not only as a great writer and playwright, but also as an outstanding thinker.
2. Shakespeare's plays present seven types of plots that are not reducible to each other. Similar stories are reflected in the works of other classical authors such as Pushkin. Such stories are traditional for folklore traditions of different peoples and eras, which indicates their archetypal nature. Shakespeare's reflection of archetypes indicates that the work of the great British playwright is truly folk.
3. The structure of the plots of Shakespeare's plays is revealed through the basic principles and laws of philosophy. The above, in particular, allows us to propose an independent way of systematizing philosophical categories, based on the archetypal approach.
4. Shakespeare's heroes are driven by certain aspirations that act as a motivating factor. When achieving their goals, characters use characteristic behavioral strategies, both universal, successful in most cases, and not always successful, opportunistic. At the same time, the ways of realizing the characters’ intentions are associated with their character traits.
5. A characterological analysis of Shakespeare's heroes reveals a classification of human characters, including seven psychological types. The typicality of such images is indicated by their reflection in the cycles of Pushkin’s works and in Gogol’s “Dead Souls”. This is also evidenced by the fact that Shakespeare borrowed many of his plays. Well-known types of neurotic personalities appear as derivatives of the corresponding types.
6. Analysis of Shakespeare's plays shows that they are subject to a certain system. This system provides for the disclosure of characteristic themes, the selection of typical plots, and the description of the corresponding types of characters’ characters and methods of their behavior. All this indicates the presence of a single plan when creating plays. Unique author's handwriting and art style plays also indicate that they were written (or edited) by one person. The presence of numerous borrowings is consistent with the version that Shakespeare selected the plots of his plays following a certain system. Pushkin used a similar technique, following Shakespeare’s dramatic system when writing cycles of tragedies and fairy tales.
7. Shakespeare's characters are extremely psychologically realistic. This indicates an exceptionally high level of psychological skill of the author. In the conditions of medieval Europe, this fact can be explained by the fact that the author of the plays had experience in participating in theatrical productions. Working in the theater contributes to the development of acting talent, which involves the ability to get used to the character. This circumstance is consistent with the biography of the historical William Shakespeare, who participated in theatrical productions of his plays as an actor.
8. It cannot be ruled out that the dramatic system implemented in Shakespeare’s plays was based on more early traditions, including philosophical and religious ones. At the same time, a comparison of all the factors studied in this work allows us to draw the conclusion that the considered works attributed to Shakespeare really belong to him.

LITERATURE

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Introduction….…………………………………………………………………………………3
Chapter I. CHARACTERS OF SHAKESPEARE'S HEROES …………………………..…….11
1.1. Othello……………..………………………….……………………..11
1.2. Romeo and Juliet………………………….……………….……..25
1.3. Merchant of Venice………………….………………………...……..37
1.4. Love's Labour's Lost………………….……………….……..49
1.5. Two Veronese………………….…………………………….……..60
1.6. Macbeth……………..………………………….…………………….72
1.7. Hamlet……………..………………………….……………………..83
1.8. Conclusions………………………………………………………………...…...100
Chapter II. TYPICALITY OF CHARACTERS AND PLOTS OF SHAKESPEARE'S PLAYS..101
2.1. Typicality of the plots of Shakespeare's plays………………………..…..102
2.2. Typical character of Shakespeare's heroes.…………………………. ………..126
2.2.1. Typical character aspirations…………………………..127
2.2.2. Typical behavior of characters……………………………...133
2.2.3. Archetypicality of Shakespeare's heroes.………………….................232
2.3. Conclusions……………………………………………………….….242
Conclusion……………………………………………………..244
Literature………………………………………………………………………………249

We can safely say that this man changed the world, mentality, perception, and attitude towards art as such. William Shakespeare, whose works are studied in school curriculum, was a real genius. His plays and poems can be called a true encyclopedia of human relationships, a kind of mirror of life, a reflector of the shortcomings and strengths of human beings.

Great genius

Shakespeare's works are an impressive contribution to world literature. During his life, the great Briton created seventeen comedies, eleven tragedies, a dozen chronicles, five poems and one hundred and fifty-four sonnets. The interesting thing is that their themes, the problems described in them, are relevant to this day. Even many researchers of the playwright’s work cannot answer how in the sixteenth century a person could create works that excite all generations. It was even hypothesized that the works were written not by one person, but by a certain group of authors, but under one pseudonym. But the truth has not yet been established.

short biography

Shakespeare, whose works are so beloved by many, left behind many mysteries and very little historical facts. It is believed that he was born near Birmingham, in the city of Stratford-upon-Avon, in 1564. The father was engaged in trade and was a wealthy city dweller. But issues of literature and culture were not discussed with little William: at that time there was no environment in the city that would be conducive to the development of talent.

The boy went to a free school, at the age of eighteen he married (forced) rich girl, she was eight years older than him. Apparently, Shakespeare did not like family life, so he joined a traveling group of artists and went to London. But he was not lucky enough to become an actor, so he wrote poems in honor of influential people, served the horses of wealthy theater visitors, worked as a prompter, and completed plays. Shakespeare's first works appeared when he was 25 years old. Then he wrote again and again. They were staged and were a success. In 1599, the famous Globe Theater was built at the expense of the group’s artists, including Shakespeare. The playwright worked there tirelessly.

Features of the works

Shakespeare's works even then differed from traditional dramas and comedies. Their distinguishing feature was deep content, the presence of intrigue that changes people. William showed how low even a noble person can fall under the influence of circumstances and, conversely, how notorious scoundrels commit great deeds. The playwright forced his characters to reveal their character gradually, as the plot developed, and the audience to empathize with the characters and follow the scene. Shakespeare's works are also characterized by high moral pathos.

It is not surprising that the genius of drama already deprived many authors of income during his lifetime, since the public demanded his work. And he met the demands of demand - he wrote new plays, replayed ancient stories, and used historical chronicles. Success gave William prosperity, and even a noble coat of arms. He died, as is commonly believed, after a cheerful feast in honor of his birthday in a friendly circle.

Shakespeare's works (list)

We will not be able to list all the works of the greatest English playwright in this article. But we will indicate the most famous works of Shakespeare. The list is as follows:

• "Romeo and Juliet".
• "Hamlet".
• "Macbeth".
• "A dream in a summer night".
• "Othello".
• "King Lear".
• "The Merchant of Venice".
• "Much ado about nothing".
• "Storm".
• "Two Gentlemen of Verona"

These plays can be found in the repertoire of any self-respecting theater. And, of course, to paraphrase the famous saying, we can say that the actor who does not dream of playing Hamlet is bad, the actress who does not want to play Juliet is bad.

To be or not to be?

Shakespeare's work "Hamlet" is one of the brightest, most heartfelt. The image of the Prince of Denmark moves to the core, and his eternal question makes you think about your life. For those who have not yet read the tragedy in full version, we'll tell you summary. The play begins with the appearance of a ghost among the kings. He meets with Hamlet and tells him that the king did not die a natural death. It turns out that the father's soul demands revenge - the murderer Claudius not only took the wife of the late king, but also the throne. Wanting to verify the veracity of the words of the night vision, the prince pretends to be a madman and invites traveling artists to the palace to stage the tragedy. Claudius's reaction betrays him, and Hamlet decides to take revenge. Palace intrigues, betrayals of his beloved and former friends make the prince an avenger without a heart. He kills several of them, defending himself, but dies from the sword of the brother of the deceased Ophelia. In the end, everyone dies: Claudius, who untruthfully took the throne, and the mother, who drank the wine poisoned by her husband, prepared for Hamlet, and the prince himself, and his opponent Laertes. Shakespeare, whose works move you to tears, described the problem not only in Denmark. But also the whole world, the hereditary monarchy in particular.

The tragedy of two lovers

Shakespeare's work "Romeo and Juliet" is a touching story about two young people who are ready to sacrifice themselves to be with their chosen one. This is a story about warring families who did not allow their children to be together and be happy. But the children of warring nobles do not care about the established rules; they decide to be together. Their meetings are filled with tenderness and deep feelings. But the girl has found a groom, and her parents tell her to prepare for the wedding. In a street brawl between representatives of two warring families, Juliet's brother dies, and Romeo is considered the killer. The ruler wants to expel the criminal from the city. The young people are helped by a monk and a nurse, but they have not fully discussed all the details of the escape. As a result, Juliet drinks a potion, which makes Romeo fall into a state of beloved dead and drinks poison in her crypt. After waking up, the girl kills herself with the guy's dagger. The Montagues and Capulets make peace, mourning their children.

Other jobs

But William Shakespeare wrote other works as well. These are funny comedies that are uplifting, light and lively. They talk about people, although famous, but those who are not alien to love, passion, and the desire for life. Wordplay, misunderstandings, and happy accidents lead the heroes to a happy ending. If there is sadness in the plays, it is fleeting, such as to emphasize the cheerful commotion on stage.

The sonnets of the great genius are also original, filled with deep thoughts, feelings, and experiences. In the poems, the author addresses a friend, beloved, is sad in separation and rejoices when meeting, and experiences disappointment. A special melodic language, symbols and images create an elusive picture. Interestingly, in most of Shakespeare's sonnets he addresses a man, perhaps Henry Risley, Earl of Southampton, the playwright's patron. And only then, in later works, a dark lady, a cruel coquette, appears.

Instead of an afterword

Every person is simply obliged to read, at least in translation, but the full content of the most famous works of Shakespeare, to make sure that the greatest genius had the ability of a prophet, since he was able to identify problems even modern society. He was an explorer human souls, noticed their shortcomings and advantages, pushed them to change. But isn’t this the purpose of art and the great master?