Artistic image and artistic reality. What is an artistic image in literature

The most important category of literature, which determines its essence and specificity, is the artistic image. What is the meaning of this concept? It means a phenomenon that the author creatively recreates in his creation. The image in a work of art is presented as the result of meaningful conclusions by the writer about some process or phenomenon. The peculiarity of this concept is that it not only helps to comprehend reality, but also to create your own fictional world.

Let's try to trace what an artistic image is, its types and means of expression. After all, any writer tries to depict certain phenomena in such a way as to show his vision of life, its trends and patterns.

What is an artistic image

Domestic literary criticism borrowed the word "image" from the Kievan-church lexicon. It has a meaning - a face, a cheek, and its figurative meaning is a picture. But it is important for us to analyze what an artistic image is. By it they mean a specific, and sometimes a generalized picture of people's lives, which carries aesthetic value and is created with the help of fiction. An element or part of a literary work that has an independent life - that's what an artistic image is.

Such an image is called artistic not because it is identical to real objects and phenomena. The author simply transforms reality with the help of his imagination. The task of the artistic image in literature is not just to copy reality, but to convey the most important and essential.

So, Dostoevsky put into the mouth of one of his heroes the words that it is rarely possible to recognize a person from a photograph, because the face does not always speak of the most important character traits. From photographs, Napoleon, for example, seems stupid to some. The task of the writer is to show in the face and character the most important, specific. By creating literary image, the author in words displays human characters, objects, phenomena in an individual form. By image, literary scholars mean the following:

1. Characters artwork, heroes, actors and their characters.
2. Depiction of reality in a concrete form, with the help of verbal images and tropes.

Each image created by the writer carries a special emotionality, originality, associativity and capacity.

Changing forms of artistic representation

In the course of how humanity changes, so there are changes in the image of reality. There is a difference between what the artistic image was 200 years ago and what it is now. In the era of realism, sentimentalism, romanticism, modernism, the authors displayed the world in different ways. Reality and fiction, reality and ideal, general and individual, rational and emotional - all this changed in the course of the development of art. In the era of classicism, writers highlighted the struggle between feelings and duty. Often heroes chose duty and sacrificed personal happiness in the name of the public interest. In the era of romanticism, rebel heroes appeared who rejected society or it them.

Realism introduced rational knowledge of the world into literature, taught to identify cause-and-effect relationships between phenomena and objects. Modernism called on writers to cognize the world and man by irrational means: inspiration, intuition, insight. For realists, at the head of everything is a person and his relationship with the outside world. Romantics are interested in the inner world of their characters.

Readers and listeners can also be called in some way co-creators of literary images, because their perception is important. Ideally, the reader does not just passively stand aside, but passes the image through his own feelings, thoughts and emotions. Readers of different eras open up completely different sides of what kind of artistic image the writer portrayed.

Four types of literary images

The artistic image in literature is classified on various grounds. All these classifications only complement each other. If we divide the images into types according to the number of words or characters that create them, then the following images stand out:

• Small images in the form of details. An example of an image-detail is the famous Plyushkin pile, a structure in the form of a heap. She characterizes her character very clearly.
• Interiors and landscapes. Sometimes they are part of the image of a person. So, Gogol constantly changes interiors and landscapes, making them a means of creating characters. Landscape lyrics are very easy for the reader to imagine.
• Character images. So, in the works of Lermontov, a person with his feelings and thoughts is at the center of events. Characters are also called literary heroes.
• complex literary systems. As an example, we can name the image of Moscow in the lyrics of Tsvetaeva, Russia in the work of Blok, St. Petersburg in Dostoevsky. Even more complex system is the image of the world.

Classification of images according to generic and style specifics

All verbal and artistic creations are usually divided into three types. In this regard, the images can be:

• lyrical;
• epic;
• dramatic.

Every writer has their own style of portraying characters. This gives reason to classify images into:

• realistic;
• romantic;
• surreal.

All images are created according to a certain system and laws.

The division of literary images according to the nature of generalization

Uniqueness and originality are characterized by individual images. They are invented by the imagination of the author himself. Individual images are used by romantics and science fiction writers. In Hugo's Notre Dame Cathedral, readers can see an unusual Quasimodo. The Shuttlecock in Bulgakov's novel "The Master and Margarita", the Demon in the work of the same name by Lermontov, is an individual.

The generalization, opposite to the individual, is characteristic. It contains the characters and customs that people of a certain era have. Such are the literary heroes of Dostoevsky in The Brothers Karamazov, Crime and Punishment, in Ostrovsky's plays, in Galsworthy's The Forsyte Saga.

The highest level of characteristic characters are typical images. They were the most probable for a particular era. It is typical heroes that are most often found in realistic literature XIX century. This is the father of Goriot and Gobsek Balzac, Plato Karataev and Anna Karenina Tolstoy, Madame Bovary Flaubert. Sometimes the creation of an artistic image is intended to capture the socio-historical signs of an era, universal human character traits. In the list of such eternal images you can bring in Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe.

From the framework of individual characters go motifs. They are constantly repeated in the subject matter of the works of some author. As an example, Yesenin's "village Russia" or Blok's "Beautiful Lady" can be cited.

Typical images found not only in the literature of individual writers, but also of nations, eras, are called topos. Such Russian writers as Gogol, Pushkin, Zoshchenko, Platonov used the topos image of the "little man" in their writings.

The universal image, which is unconsciously transmitted from generation to generation, is called archetype. It includes mythological characters.

Means of creating an artistic image

Each writer, to the best of his talent, reveals images with the means available to him. Most often, he does this through the behavior of the characters in certain situations, through his relationship with the outside world. Of all the means of an artistic image, the speech characteristics of the characters play an important role. The author can use monologues, dialogues, internal statements of a person. To the events taking place in the book, the writer can give his author's description.

Sometimes readers observe an implicit, hidden meaning in the works, which is called subtext. Of great importance external characteristics of the heroes: height, clothes, figure, facial expressions, gestures, voice timbre. It's easier to call it a portrait. A great semantic and emotional load is carried in the works details, expressing details . To express the meaning of a phenomenon in objective form, the authors use symbols. The idea of ​​​​the habitat of a particular character gives a description of the interior of the room - interior.

In what order is literary

character image?

To create an artistic image of a person is one of the most important tasks of any author. Here's how to characterize this or that character:

1. Indicate the place of the character in the system of images of the work.
2. Describe it in terms of social type.
3. Describe the character's appearance, portrait.
4. Name the features of his worldview and worldview, mental interests, abilities and habits. Describe what he does, his life principles and influence on others.
5. Describe the sphere of feelings of the hero, the features of inner experiences.
6. Analyze author's attitude to the character.
7. Reveal the most important character traits of the hero. As the author opens them, other characters.
8. Analyze the actions of the hero.
9. Name the personality of the character's speech.
10. What is his relationship to nature?

Mega, macro and micro images

Sometimes the text of a literary creation is perceived as a mega-image. It has its own aesthetic value. Literary critics give him the highest generic and indivisible value.

To depict life in larger or smaller segments, pictures or parts, macro images are used. The composition of the macro image is made up of small homogeneous images.

The microimage is distinguished by the smallest text size. It can be in the form of a small segment of reality depicted by the artist. It can be one phrase word (Winter. Frost. Morning.) Or a sentence, a paragraph.

Image-symbols

A characteristic feature of such images is metaphor. They carry semantic depth. So, the hero Danko from Gorky's work "The Old Woman Izergil" is a symbol of absolute selflessness. He is opposed in the book by another hero - Larra, who is a symbol of selfishness. The writer creates a literary image-symbol for hidden comparison, in order to show its figurative meaning. Most often, symbolism is found in lyrical creations. It is worth remembering Lermontov's poems "The Cliff", "It Stands Lonely in the Wild North...", "Leaf", the poem "Demon", the ballad "Three Palm Trees".

Eternal images

There are images that never fade, they combine the unity of historical and social elements. Such characters of world literature are called eternal. Prometheus, Oedipus, Cassandra immediately come to mind. Any intelligent person will add here Hamlet, Romeo and Juliet, Iskander, Robinson. There are immortal novels, short stories, lyrics in which new generations of readers discover unprecedented depths.

Artistic images in lyrics

An unusual look at ordinary things allows you to see the lyrics. The keen eye of the poet notices the most everyday things that bring happiness. The artistic image in the poem can be the most unexpected. For some it is the sky, the day, the light. Bunin and Yesenin have a birch. The images of the beloved or beloved are endowed with special tenderness. Very often there are images-motives, such as: a woman-mother, wife, bride, beloved.

In terms of the structure of a literary work, the artistic image is the most important component of its form. An image is a pattern on the “body” of an aesthetic object; the main "transmitting" gear of the artistic mechanism, without which the development of action, understanding of meaning is impossible. If a work of art is the basic unit of literature, then the artistic image is the basic unit of literary creation. With the help of artistic images, the object of reflection is modeled. The objects of landscape and interior, events and actions of the characters are expressed in an image. The author's intention comes through in the images; the main general idea is embodied.

So, in A. Green's extravaganza "Scarlet Sails", the main theme of love in the work is reflected in the central artistic image - scarlet sails, meaning a sublime romantic feeling. The artistic image is the sea, into which Assol peers, waiting for a white ship; the neglected, uncomfortable inn of Menners; a green bug crawling along the line with the word "look." As an artistic image (the image of the betrothal) is the first meeting with Gray Assol, when the young captain puts the ring of his betrothed on his finger; equipping Gray's ship with scarlet sails; drinking wine that no one should have drunk, etc.

The artistic images we have singled out: the sea, the ship, scarlet sails, the tavern, the bug, the wine are important details extravaganza forms. Thanks to these details, A. Green's work begins to "live". It receives the main characters (Assol and Gray), the place of their meeting (the sea), as well as its condition (a ship with scarlet sails), the means (a look with the help of a bug), the result (betrothal, wedding).

With the help of images, the writer asserts one simple truth. It is "to do so-called miracles with your own hands."

In the aspect of literature as an art form, the artistic image is the central category (as well as the symbol) literary creativity. It acts as a universal form of mastering life and at the same time a method of its comprehension. Artistic images comprehend social activity, specific historical cataclysms, human feelings and characters, spiritual aspirations. In this aspect, the artistic image does not simply replace the phenomenon it denotes or generalizes it. character traits. He tells about the real facts of life; cognizes them in all their diversity; reveals their essence. Models of life are drawn in an artistic way, unconscious intuitions and insights are verbalized. It becomes epistemological; paves the way to the truth, the prototype (in this sense, we are talking about the image of something: the world, the sun, the soul, God).

At the level of origin, two large groups of artistic images are distinguished: authorial and traditional.

Author's images, as the name suggests, are born in creative laboratory the author "for the needs of the day", "here and now". They grow from the subjective vision of the world by the artist, from his personal assessment of the events, phenomena or facts depicted. The author's images are concrete, emotional and individual. They are close to the reader with their real, human nature. Anyone can say: “Yes, I saw (experienced, “felt”) something similar.” At the same time, the author's images are ontological (that is, they are closely connected with being, grow out of it), typical and therefore always relevant. On the one hand, these images embody the history of states and peoples, comprehend socio-political cataclysms (like, for example, the Gorky petrel, which predicts and at the same time calls for a revolution). On the other hand, they create a gallery of inimitable artistic types that remain in the memory of mankind as real models of being.

So, for example, the image of Prince Igor from the "Word" models the spiritual path of a warrior who is freed from base vices and passions. The image of Pushkin's Eugene Onegin reveals the "idea" of the nobility disappointed in life. But the image of Ostap Bender from the works of I. Ilf and E. Petrov personifies the path of a person obsessed with an elementary thirst for material wealth.

Traditional images borrowed from the treasury of world culture. They reflect the eternal truths of the collective experience of people in various fields life (religious, philosophical, social). Traditional images are static, hermetic and therefore universal. They are used by writers for artistic and aesthetic "breakthrough" into the transcendental and transsubjective. The main goal of traditional images is a fundamental spiritual and moral restructuring of the reader's consciousness according to the "heavenly" model. This is served by numerous archetypes and symbols.

G. Sienkiewicz uses the traditional image (symbol) in the novel "Quo wadis" quite revealingly. This symbol is a fish, which in Christianity means God, Jesus Christ and the Christians themselves. Ligia, a beautiful Polish girl, draws a fish on the sand, with whom she falls in love main character, Mark Vinicius. The fish is drawn first by a spy, and then by the martyr Chilon Chilonides, looking for Christians.

The ancient Christian symbol of the fish gives the writer's narrative not only a special historical flavor. The reader, following the characters, also begins to ponder the meaning of this symbol and mysteriously comprehend Christian theology.

In the aspect of functional purpose, images of heroes, images (pictures) of nature, images-things and images-details are distinguished.

Finally, in the aspect of construction (rules of allegory, transfer of meanings), artistic images-symbols and tropes are distinguished.

Similar information.

Created by a talented artist, leaves a "deep mark" in the heart and mind of the viewer or reader. What has such a strong impact, makes you deeply worry and empathize with what you see, read or hear? This is an artistic image in literature and art, created by the skill and personality of the creator, who was able to amazingly rethink and transform reality, make it consonant and close to our own personal feelings.

Artistic image

In literature and art, this is any phenomenon that is generalized and creatively recreated by an artist, composer or writer in an art object. It is visual and sensual; understandable and open to perception, and capable of evoking deep emotional experiences. These features are inherent in the image because the artist does not just copy life phenomena, but fills them with a special meaning, colors them with the help of individual techniques, makes them more capacious, solid and voluminous. Naturally, unlike scientific creativity, artistic creativity is very subjective, and it attracts to itself primarily by the personality of the author, the degree of his imagination, fantasy, erudition and sense of humor. Bright image in literature and art, it is also created due to the complete freedom of creativity, when the creator opens up the boundless expanses of artistic fiction and limitless ways of expressing it, with the help of which he creates his work.

The originality of the artistic image

The artistic image in art and literature is remarkable for its amazing integrity, in contrast to scientific creation. He does not divide the phenomenon into its component parts, but considers everything in the indivisible integrity of internal and external, personal and public. The originality and depth of the artistic world are also manifested in the fact that the images in works of art are not only people, but also nature, inanimate objects, cities and countries, individual character traits and personality traits, which are often given the appearance of fantastic creatures or, on the contrary, very mundane, ordinary objects. Landscapes and still lifes depicted in the paintings of artists are also images of their work. Aivazovsky, painting the sea in different time years and days, created a very capacious artistic image, which, in the smallest nuances of color and light, conveyed not only the beauty of the seascape, the artist's attitude, but also awakened the viewer's imagination, causing purely personal sensations in him.

The image as a reflection of reality

The artistic image in literature and art can be very sensual and rational, very subjective and personal or factographic. But in any case, it is a reflection of real life (even in fantastic works), since it is common for the creator and the viewer to think in images and perceive the world as a chain of images.

Any artist is a creator. He not only reflects reality and tries to answer existential questions, but also creates new meanings that are important for him and for the time in which he lives. Therefore, the artistic image in literature and art is very capacious and reflects not only the problems of the objective world, but also the subjective experiences and reflections of the author who created it.

Art and literature, as a reflection of the objective world, grow and develop along with it. Times and epochs are changing, new directions and currents are emerging. Cross-cutting artistic images pass through time, transforming and changing, but at the same time new ones arise in response to the demands of the time, historical changes and personal changes, because art and literature are, first of all, a reflection of reality through a system of images that is constantly changing and commensurate with time.

Artistic image

Artistic image- a general category of artistic creativity, a form of interpretation and development of the world from the standpoint of a certain aesthetic ideal by creating aesthetically influencing objects. An artistic image is also called any phenomenon creatively recreated in a work of art. An artistic image is an image from art, which is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. The artistic image is created by the author for the most complete development of the artistic world of the work. First of all, through the artistic image, the reader reveals the picture of the world, plot-plot moves and features of psychologism in the work.

The artistic image is dialectical: it combines living contemplation, its subjective interpretation and evaluation by the author (and also by the performer, listener, reader, viewer).

An artistic image is created on the basis of one of the means: image, sound, language environment, or a combination of several. It is inseparable from the material substratum of art. For example, the meaning, internal structure, clarity of the musical image is largely determined by the natural matter of music - the acoustic qualities of musical sound. In literature and poetry, an artistic image is created on the basis of a specific language environment; all three means are used in theatrical art.

At the same time, the meaning of the artistic image is revealed only in a certain communicative situation, and final result such communication depends on the personality, goals and even the momentary mood of the person confronted with him, as well as on the specific culture to which he belongs. Therefore, often after one or two centuries have passed since the creation of a work of art, it is perceived in a completely different way than its contemporaries and even the author himself perceived it.

In the "Poetics" of Aristotle, the image-trope appears as an inaccurate exaggerated, diminished or changed, refracted reflection of the original nature. In the aesthetics of romanticism, similarity and similarity give way to a creative, subjective, transforming principle. In this sense, incomparable, like no one else, therefore, beautiful. This is the same understanding of the image in the aesthetics of the avant-garde, which prefers hyperbole, shift (B. Livshitz's term). In the aesthetic of surrealism, "reality multiplied by seven is the truth." In the latest poetry, the concept of " metametaphor " (K. Kedrov's term) has appeared. This is an image of the transcendent reality beyond the threshold of light speeds, where science falls silent and art begins to speak. The metametaphor closely merges with the "reverse perspective" of Pavel Florensky and the "universal module" of the artist Pavel Chelishchev. It's about about expanding the limits of human hearing and vision far beyond physical and physiological barriers.

see also

Links

• Tamarchenko N. D. Theoretical poetics: concepts and definitions
• Nikolaev A. I. Artistic image as a transformed model of the world

Literature: Romanova S. I. Artistic image in the space of semiotic relations. // Bulletin of Moscow State University. Series 7. Philosophy. 2008. No. 6. P.28-38. (www.sromaart.ru)

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See what "Artistic Image" is in other dictionaries:

ARTISTIC IMAGE, a form of artistic thinking. Image includes: reality material, recycled creative fantasy the artist, his attitude to the depicted, the wealth of the creator's personality. Hegel (see HEGEL Georg Wilhelm Friedrich) ... ... encyclopedic Dictionary

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artistic image- a method and form of mastering reality in art, characterized by an inseparable unity of sensual and semantic moments. This is a concrete and at the same time a generalized picture of life (or a fragment of such a picture), created with the help of creative ... ... Terminological dictionary-thesaurus on literary criticism

IN fine arts, a form of reproduction, comprehension and experience of the phenomena of life by creating aesthetically affecting objects (paintings, sculptures, etc.). Art, like science, cognizes the world around us. However, unlike…… Art Encyclopedia

artistic image- ▲ image (to be) in, a work of art hero literary image. type (positive #). figure. characters. ▼ literary type fairy tale character... Ideographic Dictionary of the Russian Language

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Introduction

The artistic image is a universal category of artistic creativity: a form of reproduction, interpretation and mastery of life inherent in art by creating aesthetically influencing objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content (for example, a character in literature, symbolic images). But in a more general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

In a number of other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle's doctrine of "mimesis" - the artist's free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art in its self-consciousness (coming from the ancient tradition) was closer to craft, skill, skill and, accordingly, in the host of arts leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the transforming attitude of the artist to the material was illuminated. The fact that the artistically reshaped material captures, carries in itself a kind of ideal education, in something similar to thought, began to be realized only with the promotion of more “spiritual” arts - literature and music. Hegelian and post-Hegelian aesthetics (including V. G. Belinsky) widely used the category of artistic image, respectively, opposing the image as a product of artistic thinking to the results of abstract, scientific and conceptual thinking - syllogism, inference, proof, formula.

Since then, the universality of the category of artistic image has been repeatedly disputed, since the semantic connotation of objectivity and visibility, which is part of the semantics of the term, seemed to make it inapplicable to “non-objective”, non-fine arts. And, however, modern aesthetics, mainly domestic, at the present time widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.

The purpose of the work: To analyze the concept of an artistic image and identify the main means of its creation.

Expand the concept of artistic image.

Consider means of creating an artistic image

To analyze the characteristics of artistic images on the example of the works of W. Shakespeare.

The subject of the research is the psychology of the artistic image on the example of Shakespeare's works.

Research method - theoretical analysis of the literature on the topic.

1. Psychology of the artistic image

1 The concept of artistic image

In epistemology, the concept of "image" is used in a broad sense: an image is a subjective form of reflection of objective reality in the mind of a person. At the empirical stage of reflection, images-impressions, images-representations, images of imagination and memory are inherent in human consciousness. Only on this basis, through generalization and abstraction, images-concepts, images-conclusions, judgments arise. They can be visual - illustrative pictures, diagrams, models - and not visual - abstract.

Along with a broad epistemological meaning, the concept of "image" has a narrower meaning. An image is a specific appearance of an integral object, phenomenon, person, his “face”.

The human mind recreates the images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Cognition and practice of a person lead the entropic, at first glance, variety of phenomena to an ordered or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into integral images removes uncertainty, designates this or that sphere, names this or that delimited content.

Perfect Look object that occurs in human head, is some system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is essentially secondary, it is such a product of thinking that reflects the laws of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.

The artistic image is not only special form thought, it is an image of reality that arises through thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts reality in a concrete face, its objective, material world, a person and his environment, depicts the events of public and personal life of people, their relationships, their external and spiritual and psychological features.

In aesthetics for many centuries there has been a debatable question of whether the artistic image is a cast of direct impressions of reality or is it mediated in the process of emergence by a stage abstract thinking and related processes of abstraction from the concrete by analysis, synthesis, inference, conclusion, that is, the processing of sensually given impressions. Researchers of the genesis of art and primitive cultures the period of “prelogical thinking” is singled out, but even the concept of “thinking” is inapplicable to the later stages of the art of this time. The sensual-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx a reason to say that the early stages of the development of human culture were characterized by unconscious artistic processing natural material.

In the process of human labor practice, not only the development of the motor skills of the functions of the hand and other parts of the human body took place, but also, accordingly, the process of development of human sensibility, thinking and speech.

modern science argues for the fact that the language of gestures, signals, signs ancient man was still only the language of sensations and emotions, and only later the language of elementary thoughts.

Primitive thinking was distinguished by its original immediacy and elementality, like thinking about the present situation, about the place, volume, quantity, and immediate benefit of a particular phenomenon.

Only with the emergence of sound speech and the second signal system does discursive and logical thinking begin to develop.

Because of this, we can talk about the difference in certain phases or stages in the development of human thinking. First, the phase of visual, concrete, primary-signal thinking, which directly reflects the momentarily experienced situation. Secondly, this is the phase of figurative thinking, which goes beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).

Thinking, like other spiritual and psychic phenomena, develops in the history of anthropogenesis from the lowest to the highest. The discovery of many facts testifying to the prelogical, prelogical nature of primitive thinking gave rise to many interpretations. The well-known researcher of ancient culture, K. Levy-Bruhl, noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles” with contradiction.

In Western aesthetics of the middle of the last century, the conclusion is widespread that the fact of the existence of pre-logical thinking provides grounds for the conclusion that the nature of art is identical to the unconsciously mythologising consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of prelogical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while striving to absolutize mythology as an ideal ancestral basis in history. artistic thinking.

However, Cassirer only drew attention to mythological thinking as a prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reid, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.

Domestic psychologists, on the contrary, believe that the consciousness of a modern person is a multilateral psychological unity, where the stages of development of the sensual and rational sides are interconnected, interdependent, interdependent. The measure of the development of the sensory aspects of the consciousness of historical man in the course of his existence corresponded to the measure of the evolution of reason.

There are many arguments in favor of the sensual-empirical nature of the artistic image as its main feature.

As an example, let us dwell on the book by A.K. Voronsky "The Art of Seeing the World". She appeared in the 20s, had sufficient popularity. The motive for writing this work was a protest against handicraft, poster, didactic, manifesting, "new" art.

Voronsky's pathos is focused on the "mystery" of art, which he saw in the artist's ability to capture the immediate impression, the "primary" emotion of perceiving an object: "Art only comes into contact with life. As soon as the mind of the viewer, the reader, begins to work, all the charm, all the strength of the aesthetic feeling disappears.

Voronsky developed his point of view, relying on considerable experience, on a sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that it is possible to see the world "directly", that is, without the mediation of preconceived thoughts and ideas, only in happy moments of true inspiration. Freshness and purity of perception is a rarity, but it is precisely such an immediate feeling that is the source of the artistic image.

Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation”.

Problem artistic discovery The world receives from Voronsky the definition of a “complex creative feeling”, when the reality of the primary impression is revealed, regardless of whether a person knows about it.

Art "silences the mind, it achieves that a person believes in the power of his most primitive, most direct impressions"6.

Written in the 1920s, Voronsky's work is focused on searching for the secrets of art in naive pure anthropologism, "irrelevant", not appealing to reason.

Immediate, emotional, intuitive impressions will never lose their significance in art, but are they sufficient for the artistry of art, aren't the criteria of art more complicated than the aesthetics of direct feelings suggests?

The creation of an artistic image of art, if it is not a study or a preliminary sketch, etc., but a complete artistic image, is impossible only by fixing a beautiful, direct, intuitive impression. The image of this impression will be insignificant in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.

V.S. Solovyov made an attempt to "name" what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is the light of the sun, moon, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.

These natural phenomena evoke aesthetic feelings, aesthetic pleasure. And although these feelings are also connected with the concept of things, for example, about a thunderstorm, about the universe, it can still be imagined that the images of nature in art are images of sensory impressions.

Sensual impression, thoughtless enjoyment of beauty, including the light of the moon, stars - are possible, and such feelings are able to discover something unusual again and again, but the artistic image of art incorporates a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.

The figurative sphere of a work of art is formed simultaneously on many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. The visual, verbal or sound representation of a work of art is not a copy of reality, even if it is optimally lifelike. Artistic depiction clearly reveals its secondary nature, mediated by thinking, as a result of the participation of thinking in the process of creating artistic reality.

The artistic image is the center of gravity, the synthesis of feeling and thought, intuition and imagination; the figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the “pressure” of life itself, the “flight” of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist’s thinking.

The function of thinking is also manifested in maintaining balance and harmonizing all these conflicting factors. The artist's thinking works on the integrity of the image and the work. The image is the result of impressions, the image is the fruit of the artist's imagination and fantasy and at the same time the product of his thought. Only in the unity and interaction of all these aspects does a specific phenomenon of artistry arise.

By virtue of what has been said, it is clear that the image is relevant, and not identical with life. And there can be an infinite number of artistic images of the same sphere of objectivity.

Being a product of thinking, the artistic image is also the focus of the ideological expression of the content.

An artistic image makes sense as a “representative” of certain aspects of reality, and in this respect it is more complex and multifaceted than the concept as a form of thought, in the content of the image it is necessary to distinguish between the various ingredients of meaning. The meaning of a hollow work of art is complex - a "composite" phenomenon, the result of artistic development, that is, knowledge, aesthetic experience and reflection on the material of reality. Meaning does not exist in the work as something isolated, described or expressed. It "flows" from the images and the work as a whole. However, the meaning of the work is a product of thinking and, therefore, its special criterion.

artistic sense works are the final product of the artist's creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.

If we talk about the information content of an artistic image, then this is not only a sense that states certainty and its meaning, but also an aesthetic, emotional, intonational sense. All this is called redundant information.

An artistic image is a multilateral idealization of a material or spiritual object, present or imaginary, it is not reducible to semantic unambiguity, it is not identical to sign information.

The image includes the objective inconsistency of information elements, oppositions and alternatives of meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a kind of image).

Since the concept of information has acquired not only a technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the figurative-descriptive, figurative-plot content of a work of art as art is informative in itself and as a "receptacle" of ideas.

Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them - all this speaks for itself, because it is not only a product of fantasy and skill, but also a product of the artist's thinking.

A work of art makes sense insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.

Artistic thinking in art has a variety of areas and the need to express their ideas directly, developing a special poetic language for such expression.

2 Means of creating an artistic image

The artistic image, possessing sensual concreteness, is personified as a separate, unique, in contrast to the pre-artistic image, in which the personification has a diffuse, artistically undeveloped character and therefore is devoid of originality. Personification in the developed artistic and figurative thinking is of fundamental importance.

However, the artistic-figurative interaction of production and consumption is of a special nature, since artistic creativity is, in a certain sense, also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, reader are, as it were, accomplices in the creative process of the artist, was often expressed by both theorists and practitioners of art.

In the specifics of subject-object relations, in artistic-figurative perception, at least three essential features can be distinguished.

The first is that the artistic image, born as an artist's response to certain social needs, as a dialogue with the audience, in the process of education acquires its life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author could not suspect in the process of creativity. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, modern force that encourages a person to social activity.

The second essential feature of the subject-object relations inherent in the artistic image and expressed in its perception is that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images Active participation receives the influence of the creative process. How the result is achieved in the products of material production is relatively unimportant for the consumer, while in the artistic-figurative perception it is extremely significant and constitutes one of the main points of the artistic process.

If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of people's life, then it is absolutely impossible to separate artistic figurative production and consumption without compromising the understanding of the very specifics of art. Speaking of this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in historical process consumption. It cannot be exhausted only in the act of directly perceiving "single use".

There is also a third specific feature of subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consumption of products of material production, the perception of the processes of this production is by no means necessary and does not determine the act of consumption, then in art the process of creating artistic images, as it were, "comes to life" in the process of their consumption. This is most obvious in those types of artistic creativity that are associated with performance. We are talking about music, theater, that is, those types of art in which politics to a certain extent is a witness to the creative act. In fact, this is present in various forms in all types of art, in some it is more, and in others it is less obvious and is expressed in the unity of what and how a work of art comprehends. Through this unity, the public perceives not only the skill of the performer, but also the direct power of artistic and figurative influence in its meaningful meaning.

An artistic image is a generalization that reveals itself in a concrete-sensual form and is essential for a number of phenomena. The dialectics of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its singularity: the general is manifested in the individual and through the individual. The poetic representation is figurative and shows not an abstract essence, not an accidental existence, but a phenomenon in which, through its appearance, its individuality, the substantial is known. In one of the scenes of Tolstoy's novel "Anna Karenina" Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office, covered with carpets. Suddenly a moth flies across the room. And although Karenin's story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything, it is important for him to catch the moth that threatens his carpets. A small detail carries a great semantic load: for the most part, people are indifferent to each other, and things are more valuable to them than a person and her fate.

The art of classicism is characterized by generalization - an artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real material. Typification is inherent in realistic art - artistic generalization through individualization through the selection of essential personality traits. In realistic art, each depicted person is a type, but at the same time a well-defined personality - a "familiar stranger."

Marxism attaches particular importance to the concept of typification. This problem was first posed by K. Marx and F. Engels in their correspondence with F. Lassalle about his drama Franz von Sickingen.

In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of "typification" also changes.

There are two interrelated approaches to this manifestation of artistic and figurative consciousness.

First, the maximum approximation to reality. It must be emphasized that documentary art, as the desire for a detailed, realistic, reliable reflection of life, has become not just a leading trend artistic culture XX century. Modern art has perfected this phenomenon, filled it with previously unknown intellectual and moral content, largely defining the artistic and figurative atmosphere of the era. It should be noted that interest in this type of figurative conventionality does not subside even today. This is due to the amazing success of journalism, non-fiction films, art photography, the publication of letters, diaries, memoirs of participants in various historical events.

Secondly, the maximum strengthening of conventionality, and in the presence of a very tangible connection with reality. This system of conventions of the artistic image involves bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which are in organic connection with individual characteristic phenomena. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history this principle was given the name lifelike, recreating the world "in the forms of life itself."

An ancient Indian parable tells of blind men who wanted to know what an elephant was and began to feel it. One of them grabbed the elephant's leg and said: "The elephant is like a pillar"; another felt the giant's belly and decided that the elephant was a jug; the third touched the tail and understood: "The elephant is a ship's rope"; the fourth took the trunk in his hands and declared that the elephant is a snake. Their attempts to understand what an elephant is were unsuccessful, because they did not cognize the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates the features of reality to a typical fortuitous feature acts like a blind man who mistook an elephant for a rope only because he could not grasp anything other than the tail. A true artist grasps the characteristic, the essential in phenomena. Art is capable, without breaking away from the concrete-sensual nature of phenomena, of making broad generalizations and creating a concept of the world.

Typification is one of the main regularities of the artistic exploration of the world. Largely thanks to the artistic generalization of reality, the identification of the characteristic, essential in life phenomena, art becomes a powerful means of understanding and transforming the world. artistic image of Shakespeare

The artistic image is the unity of the rational and the emotional. Emotionality is a historically early foundation of the artistic image. The ancient Indians believed that art was born when a person could not restrain his overwhelming feelings. The legend about the creator of the Ramayana tells how the sage Valmiki walked along a forest path. In the grass he saw two waders gently calling to each other. Suddenly a hunter appeared and pierced one of the birds with an arrow. Overwhelmed with anger, grief and compassion, Valmiki cursed the hunter, and the words escaping from his heart overflowing with feelings formed themselves into a poetic stanza with the now canonical meter "sloka". It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, agitated, richly intoned speech.

To create an enduring work, not only a wide coverage of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of being. Once, casting a figure of a condottiere from silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough of it. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began to throw this utensil into the molten metal. When the work was completed, a beautiful statue appeared before the eyes of the spectators, however, a fork handle stuck out of the horseman's ear, and a piece of a spoon from the horse's croup. While the townspeople were carrying the utensils, the temperature of the metal poured into the mold dropped ... If the mental-emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then "forks" stick out of the work, which the person perceiving art stumbles upon.

The main thing in the worldview is the attitude of a person to the world, and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). The worldview as a special horizon of the public reflection of the world by man relates to the public consciousness as the public to the general.

Creative activity of any artist is dependent on his worldview, that is, his conceptually formalized attitude to various phenomena of reality, including the area of ​​relations between various social groups. But this takes place only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, the unconscious area of ​​the artist's psyche also plays a significant role here. Unconscious intuitive processes, of course, play a significant role in the artistic-figurative consciousness of the artist. This connection was emphasized by G. Schelling: "Art ... is based on the identity of conscious and unconscious activity."

The worldview of the artist as a mediating link between himself and public consciousness social group contains an ideological moment. And within the very individual consciousness, the worldview, as it were, is elevated by some emotional and psychological levels: worldview, worldview, worldview. The worldview is more of an ideological phenomenon, while the worldview has a socio-psychological nature, containing both universal and concrete historical aspects. The worldview is included in the area of ​​everyday consciousness and includes mindsets, likes and dislikes, interests and ideals of a person (including an artist). It plays special role in creative work, since only in it, with its help, does the author realize his worldview, projecting it onto the artistic and figurative material of his works.

The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through his worldview, while in others the worldview directly enters into the fabric of the works of art they create. Thus, musical creativity is able to express the worldview of the subject of productive activity only indirectly, through the system of musical images. In literature, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.

For many artists of the past, the contradiction between the worldview and the nature of their talent was characteristic. So M.F. Dostoevsky, in his views, was a liberal monarchist, moreover, he clearly gravitated towards resolving all the ulcers of contemporary society through his spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed samples of the most truthful pictures of the most dramatic contradictions of his era.

But in transitional epochs, the very outlook of the majority of even the most talented artists turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy whimsically combined ideas utopian socialism, containing criticism of bourgeois society and theological searches and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, is able to undergo, at times, a very complex development. Thus, Dostoevsky's path of spiritual evolution was very difficult and complicated: from the utopian socialism of the 40s to the liberal monarchism of the 60s-80s of the 19th century.

Causes internal inconsistency worldview of the artist lies in the heterogeneity of his constituent parts, in their relative autonomy and in the difference in their significance for the creative process. If for a natural scientist, due to the nature of his activity, the natural history components of his worldview are of decisive importance, then for an artist, his aesthetic views and beliefs. Moreover, the talent of the artist is directly related to his conviction, that is, to "intellectual emotions" that have become motives for creating enduring artistic images.

Modern artistic-figurative consciousness should be anti-dogmatic, that is, characterized by a resolute rejection of any kind of absolutization of a single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, turn into artistic and figurative standards and stereotypes. The elevation of the dogmatic approach to the "categorical imperative" of artistic creativity inevitably absolutizes the class confrontation, which in a concrete historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. The dogmatization of the creative process also manifests itself when certain methods and attitudes acquire the character of the only possible artistic truth.

Modern domestic aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. To get rid of the method of endless quoting of the classics on issues of artistic and figurative specificity, from the uncritical perception of other people's, even the most temptingly convincing points of view, judgments and conclusions and to strive to express their own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in the mechanical adherence to the principles and methods of any art school, direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with a truly creative development of the classical artistic heritage and traditions.

Thus, world aesthetic thought has formulated various shades of the concept of "artistic image". In the scientific literature, one can find such characteristics of this phenomenon as "mystery of art", "cell of art", "unit of art", "image-formation", etc. However, no matter what epithets are awarded to this category, it must be remembered that the artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.

The artistic image is the unity of the objective and the subjective. The image includes the material of reality, processed by the creative imagination of the artist, his attitude to the depicted, as well as all the richness of the personality and the creator.

In the process of creating a work of art, the artist as a person acts as the subject of artistic creativity. If we talk about artistic and figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject of this relationship.

The artist thinks in images, the nature of which is concretely sensual. This links the images of art with the forms of life itself, although this relationship cannot be taken literally. Forms such as art word, musical sound or an architectural ensemble, in life itself there is not and cannot be.

An important structure-forming component of the artistic image is the worldview of the subject of creativity and its role in artistic practice. Worldview - a system of views on the objective world and a person's place in it, on a person's attitude to the reality surrounding him and to himself, as well as the basic principles conditioned by these views. life positions people, their beliefs, ideals, principles of knowledge and activity, value orientations. At the same time, it is most often believed that the worldview of different strata of society is formed as a result of the spread of ideology, in the process of transforming the knowledge of representatives of a particular social stratum into beliefs. Worldview should be considered as the result of the interaction of ideology, religion, science and social psychology.

A very significant and important feature of modern artistic and figurative consciousness should be dialogism, that is, a focus on continuous dialogue, which is in the nature of constructive polemics, creative discussions with representatives of any art schools, traditions, and methods. The constructiveness of the dialogue should consist in the continuous spiritual enrichment of the debating parties, be creative, truly dialogic in nature. The very existence of art is conditioned by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, new form dialogue. The artist fully pays his debt to the recipient when he gives him something new. Today, more than ever before, the artist has the opportunity to say something new and in a new way.

All of the above directions in the development of artistic and imaginative thinking should lead to the assertion of the principle of pluralism in art, that is, the assertion of the principle of coexistence and complementarity of multiple and most diverse, including conflicting points of view and positions, views and beliefs, trends and schools, movements and teachings. .

2. Feature of artistic images on the example of the works of W. Shakespeare

2.1 Characteristics of the artistic images of W. Shakespeare

The works of W. Shakespeare are studied at literature lessons in grades 8 and 9 high school. In grade 8, students study Romeo and Juliet, in grade 9 they study Hamlet and Shakespeare's sonnets.

Shakespeare's tragedies are an example of "classical conflict resolution in a romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "inwardly consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm certainty."

Shakespeare's heroes are "counting only on themselves, individuals", setting themselves a goal that is "dictated" only by "their own individuality", and they carry it out "with an unshakable consistency of passion, without side reflections." At the center of every tragedy is this kind of character, and around him are less prominent and energetic ones.

In modern plays, the soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very pleased. When virtue and vice oppose on the stage, she should triumph, and he should be punished. In Shakespeare, the hero dies "precisely as a result of resolute fidelity to himself and his goals", which is called " tragic ending».

Shakespeare's language is metaphorical, and his hero stands above his "sorrow", or "bad passion", even "ridiculous vulgarity". Whatever Shakespeare's characters may be, they are men of "a free power of imagination and a spirit of genius... their thinking stands and puts them above what they are in their position and their specific aims." But, looking for an "analogue of inner experience", this hero "is not always free from excesses, sometimes clumsy."

Shakespeare's humor is also wonderful. Although his comic images are "immersed in their vulgarity" and "they have no shortage of flat jokes", they at the same time "show intelligence". Their "genius" could make them "great people".

An essential point of Shakespearean humanism is the comprehension of man in motion, in development, in becoming. This also determines the method of artistic characterization of the hero. The latter in Shakespeare is always shown not in a frozen motionless state, not in the statuary quality of a snapshot, but in motion, in the history of a person. Deep dynamism distinguishes the ideological and artistic concept of man in Shakespeare and the method artistic image person. Usually the hero of the English playwright is different at different phases of dramatic action, in different acts and scenes.

Man in Shakespeare is shown in the fullness of his possibilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is essential not only to show a person in his inner creative movement, but also to show the very direction of movement. This direction is the highest and most complete disclosure of all the potentials of a person, all his internal forces. This direction - in some cases there is a rebirth of a person, his inner spiritual growth, the hero's ascent to some higher stage of his being (Prince Henry, King Lear, Prospero, etc.). (“King Lear” by Shakespeare is studied by students in grade 9 at extracurricular activities).

"There is no one to blame in the world," proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero's experiences, opens up a broad perspective of the creative growth of the individual, his ultimate moral rebirth. For him, this idea serves as a platform for asserting best qualities his hero, in order to assert his heroically personal substantiality. With all the rich multi-colored changes and transformations of Shakespeare's personality, the heroic core of this personality is unshakable. The tragic dialectic of personality and fate in Shakespeare leads to the clarity and clarity of his positive idea. In Shakespeare's "King Lear" the world collapses, but the man himself lives and changes, and with him the whole world. Development, qualitative change in Shakespeare is distinguished by its completeness and diversity.

Shakespeare owns a cycle of 154 sonnets, published (without the knowledge and consent of the author) in 1609, but apparently written as early as the 1590s and which was one of the most brilliant examples of Western European lyrics of the Renaissance. The form that managed to become popular among English poets under Shakespeare's pen sparkled with new facets, accommodating a wide range of feelings and thoughts - from intimate experiences to deep philosophical reflections and generalizations.

Researchers have long drawn attention to the close connection between sonnets and Shakespeare's dramaturgy. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare's tragedies live in his sonnets. Just as in tragedies, Shakespeare touches upon in sonnets the fundamental problems of being that have worried humanity from the ages, talks about happiness and the meaning of life, about the relationship between time and eternity, about the frailty of human beauty and its greatness, about art that can overcome the inexorable run of time. , about the high mission of the poet.

The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.

In the literature of the Renaissance, the theme of friendship, especially male friendship, occupies an important place: it is regarded as the highest manifestation of humanity. In such friendship, the dictates of the mind are harmoniously combined with a spiritual inclination, free from the sensual principle.

The image of the Beloved in Shakespeare is emphatically unconventional. If in the sonnets of Petrarch and his English followers the golden-haired angel-like beauty, proud and inaccessible, was usually sung, Shakespeare, on the contrary, devotes jealous reproaches to the swarthy brunette - inconsistent, obeying only the voice of passion.

The leitmotif of grief about the frailty of everything earthly, passing through the whole cycle, the imperfection of the world, clearly realized by the poet, does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising a friend to see his youth reborn in children.

Conclusion

So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. The artistic image is different: accessibility for direct perception and direct impact on human feelings.

Any artistic image is not completely concrete, clearly fixed setpoints are clothed in it with the element of incomplete certainty, semi-appearance. This is a certain "insufficiency" of the artistic image in comparison with the reality of a life fact (art strives to become reality, but breaks against its own boundaries), but also an advantage that ensures its ambiguity in a set of complementary interpretations, the limit of which is put only by the accentuation provided by the artist.

The inner form of the artistic image is personal, it bears an indelible trace of the author's ideology, his isolating and transforming initiative, due to which the image appears to be an appreciated human reality, a cultural value among other values, an expression of historically relative tendencies and ideals. But as an “organism” formed according to the principle of visible revitalization of the material, from the point of view of artistry, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of being, where there is no “bad infinity” and an unjustified end, where space is visible, and time is reversible, where chance is not is absurd, and necessity is not burdensome, where clarity triumphs over inertia. And in this nature, artistic value belongs not only to the world of relative socio-cultural values, but also to the world life values cognized in the light of eternal meaning, to the world of ideal life opportunities our human universe. Therefore, the artistic assumption, in contrast to scientific hypothesis, cannot be discarded as superfluous and replaced by others, even if the historical limitations of its creator seem obvious.

In view of the inspiring power of artistic assumption, both creativity and the perception of art are always associated with a cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, recreate the aesthetic object in its organic integrity and self-justification and, not completely submitting to this intention, preserve the freedom of one's own point of view, provided by real life and spiritual experience.

studying individual works Shakespeare, the teacher should draw students' attention to the images he created, quote from texts, draw conclusions about the influence of such literature on the feelings and actions of readers.

In conclusion, we want to emphasize once again that the artistic images of Shakespeare have eternal value and will always be relevant, regardless of time and place, because in his works he raises eternal questions that have always worried and worried all of humanity: how to fight evil, by what means and is it possible to defeat it? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is false? How can true feelings be distinguished from false ones? Can love be eternal? What's the point human life?

Our study confirms the relevance of the chosen topic, has a practical focus and can be recommended to students of pedagogical educational institutions within the subject "Teaching Literature at School".

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