Portrait and types of heroes in literary works

Abstract

The article analyzes the types and appearance of the portrait of heroes in a work of art. In particular, on the example of the trilogy “Dastan about Karakalpaks” by T. Kaipbergenov, the author's artistic skill is studied, a scientific theoretical idea of new types of artistic portraits is given. Materials of the article are analyzed according to their individual portrait (portrait of a hero) and group portrait (two or more hero portraits). Moreover, there are used three methods of the literary investigation of the portrait such as syntactic portrait (portrait depicting the general appearance of the hero), static portraits, and condition portraits. However author tries to find peculiarities of the assimilated-portrait based on example from Kaipbergenov's work, especially author is likely to highlight emotional and portraits that represent only the hero's point of view. In terms of structure, this portrait consists of three parts. In the first part, the writer describes in detail the character and appearance of the hero, especially the facial features. The other is that the distinguished character has two heroes, and the difference between the sign in Aldosbiy and theirs is that his character is mainly drawn on the basis of that character. These edges are not always exaggerated. They may pop up in certain situations. Character traits in a dramatic-psychological situation are either customary or transient (character specific to the situation only) for the character portrayed in the work of fiction. The image is consistent. That is to say, Maman's fast-paced state of grip on horses is compared to an eagle ready to fly.