In 1857, Turgenev's touching, lyrical and beautiful work “Asya” was published. The public's feedback on this story exceeded all expectations. Asya has won the hearts of millions of readers around the world and has been translated into many major European languages.

What is the secret of the attractiveness and popularity of this sad and unpretentious love story? Let's find out.

In this article, your attention will be provided with a laconic analysis of the work, a concise description of its heroes and a brief retelling. "Asya" Turgenev will certainly captivate you with its tender sentimental sensuality and ingenuous, simple chastity. She will encourage you to look at the world in a new way, teach you to value sincerity and purity.

So, welcome - “Asya” Turgenev, who conquered millions of hearts! The quotes and excerpts from the story mentioned in this article will provide you with the opportunity to enjoy the wonderful writing and style of the writer, and the beautiful illustrations presented below will help to capture the images of the main characters and their characteristic features for a long time.

History of creation

Once, while traveling in Germany, Ivan Sergeevich became an accidental observer of a fleeting picture: a dignified elderly woman peeped out of the window of the first floor of a small stone house. After a moment, the pretty face of a young girl appeared in the window on the floor above. What was the fate of these women? And what could bring them together in one house? The writer's fantasies in this regard are reflected in Turgenev's lyric “Asya”. Analysis of the narrative suggests that the author was able to convey the atmosphere of a German town and the friendship of two different, but very lovely women, with a penetrating, subtle psychologism.

Prototypes

They say that the prototype of the timid and sensual Asya was the writer's own illegitimate daughter, Pauline Brewer. Turgenev's half-sister, Varvara Zhitova, could have been the prototype of the main character. Both girls, deeply experiencing their precarious position, could not find themselves in an aristocratic society.

What did Turgenev want to convey to his reader? “Asya” (the analysis of the work is presented in the article) definitely answers this question. But before embarking on a detailed study of the story, let's briefly recall the plot.

The beginning of a sad story

A short retelling of “Asi” by Turgenev should begin with a description of the main character, on whose behalf the story is told.

The anonymous Mr. N.N. appears before the critical gaze of the readers. Recalling his youth, he recalls the events of his tour of Europe and his acquaintance with unusual compatriots.

He meets the Gagins - a young man and a young girl, brother and sister, who travel together. Men quickly become close to each other, often spend time together for conversations and entertainment.

The main characters of “Asi” by Turgenev have genuine feelings of friendship and sympathy for each other. Over time, Mr. N. N. begins to pay attention to the sister of his comrade.

main character

Asya is a special and unusual girl. She is very well-read and knows how to draw beautifully, has a subtle sense of beauty and has a heightened sense of justice.

Asya has a changeable character and an extravagant nature, at times she is desperate and reckless. On the other hand, the girl is vulnerable and impressionable, kind and affectionate, pure and natural.

With such an amazing and unusual character, she attracts the attention of the protagonist and makes him look for the reasons for her strange behavior. His feelings for her are truly contradictory: he simultaneously condemns the girl and admires her.

Watching the brother and sister, the protagonist begins to suspect that in reality they are not. What kind of relationship do they have? Are they really lovers, shamelessly playing with the feelings of their acquaintance?

To answer these questions, you need to know the life story of the main character. This is the main theme of "Asi" Turgenev.

Asya's story

Asya is not a simple young noblewoman. She is the daughter of a wealthy master, Gagin's father, and a poor serf. An ambiguous position, a lack of upbringing and personal sorrows leave a certain imprint on the behavior and manners of the main character. She cannot deftly, socially conduct a conversation, cannot confidently control her feelings and emotions.

What is attractive about Asya Turgeneva? The narrator's reviews about her indicate that the girl's main shortcomings are her main virtues. Asya does not look like secular coquettes, hypocritical and thoughtless young ladies. She is endowed with imagination, passion, liveliness and spontaneity, which makes her charming and desirable in the eyes of the protagonist.

Brother and sister

There is a difficult and peculiar relationship between Asya and her brother. Gagin, realizing his duty towards his younger sister, feels love and pity for her at the same time. He treats her condescendingly and at the same time sincerely, arrogantly and at the same time kind. And she ... She is attached to him genuinely and passionately, afraid to upset or stain him.

“No, I don’t want to love anyone but you, no, no, I’m the only one
I want to love - and forever, ”she ardently and emotionally opens up to her brother.

Unhappy love

Communication with Mr. N.N. awakens in the heart of a young and inexperienced girl a storm of new and incomprehensible feelings for her. She, who does not understand herself and is afraid of her feelings, behaves strangely and changeably, but these are not ordinary whims. Asya's behavior reflects her inner struggle and confusion, her desire to please and charm.

Not knowing how to hide her feelings and not even realizing that this must be done, the girl opens her soul to her brother and beloved. In this childish naive act, all of her is revealed - the innocent and impetuous Asya Turgeneva. The main characters cannot appreciate her frankness and temperament.

Gagin calls her sister crazy and laments that “she will undoubtedly ruin herself”. However, he still notes Asya's lofty and noble feelings, as well as her purity and sincerity.

The main character, on the other hand, cannot appreciate the rare and wonderful qualities of a girl who loves him and whom he himself loves. "Marry a seventeen-year-old girl, with her temper, how can you!" - thinks Mr. N. N. Yes, he cannot go against the secular rules, he cannot marry an illegitimate child, he cannot fight for his love. And even when Gagin bluntly and sadly asks a friend about whether he is going to marry his sister, he avoids a direct answer and is silent.

How does “Asya” Turgenev end his story? Reviews and reviews of the work indicate that the chosen epilogue is very realistic and successful.

End

The main character, realizing that she is not loved and understood, decides to leave her first love forever. She does not impose herself, does not make scenes. She just walks away, taking with her a broken heart and unrelenting pain.

This shows the strong side of the girl's character - she is decisive and adamant in what she considers right, her pride and wisdom are worthy of imitation.

What did Ivan Sergeevich Turgenev want to show with his work? “Asya” (the content and plot of the story are briefly described above) teaches readers that it is important to fight for their happiness, value sincerity and innocence and not be led by the opinion of the majority.

Contemporary reviews

What impression does the pure and straightforward Asya Turgeneva make on modern readers? Reviews of this story continue to be enthusiastic and positive.

Despite the fact that much of the work is not fully understandable to the hearts and minds of today's readers, Asya's story nevertheless encourages thinking about true feelings and relationships.

Many people like the depth of feelings and the fullness of emotions conveyed by Turgenev in the book. The author wrote accurately and vividly, without unnecessary vague phrases and reasoning. He touches the heart not with pathos or eroticism, not with sarcasm or cruelty (as can be accepted in modern literature). No, Ivan Sergeevich describes on the pages of his story quiet and simple feelings, gentle and noble impulses that find kindness, dignity and generosity in the hidden corners of the human soul.

We really hope that this article will encourage you to take a volume of “Asi” from the library and plunge into the gentle and romantic world of Turgenev, a world where mutual understanding and morality, compassion and prudence reign. And, of course, love.

Analysis of the story of I.S. Turgenev "Asya"

The story "Asya" was written by I.S. Turgenev in 1857. The characteristic of Turgenev as an artist given by Dobrolyubov can be applied to this work: “Turgenev ... talks about his heroes as people close to him, snatches their hot feeling from his chest and, with tender participation, with painful trepidation, watches them, suffers himself and rejoices together with the faces he has created, he himself is carried away by the poetic environment that he always loves to surround them ... And this hobby is contagious: it irresistibly captures the reader's sympathy, from the first page rivets his thought and feeling to the story, makes him experience, too, to feel the moments in which Turgenev's faces appear before him. " With these words the critic is curious to compare Turgenev's own confession about his work on "Asya": "... I wrote it very ardently, almost in tears ..."

The writer really contributed to the story a lot of his own, personal, he himself experienced and felt. Remarkable in this sense is one passage at the end of the fourth chapter, when the hero of the story suddenly stops on his way home, struck by the smell of hemp, rare in Germany. “Her steppe smell instantly reminded me of my homeland and aroused in my soul a passionate longing for her. I wanted to breathe Russian air, walk on Russian soil. " "What am I doing here, why am I dragging myself in a foreign country, between strangers?" - he asks himself, and the reader clearly distinguishes in these words the expression of the feelings of the writer himself, with his passionate, sincere love for his homeland, to which he devoted his whole life.

To the hero of the story, Mr. NN, Asya seems at first to be a wayward creature with strange manners, "a capricious girl with a strained laugh," he is ready to consider her behavior on a walk indecent. With mild condemnation, he notes that Asya "did not look like a young lady." Indeed, much distinguishes Asya from the "well-bred young lady": she has neither the ability to hypocritically hide her feelings, nor calculated coquetry, nor stiffness and impertinence. She conquers with her lively spontaneity, simplicity and sincerity. At the same time, she is shy, fearful, because her life was unusual: the transition from a peasant hut to her father's house, where she could not help but feel the ambiguity of her position as an “illegal” daughter, life in a boarding house, where the rest of the “young ladies ... and injected as they could, ”- all this explains the unevenness and impetuosity of her behavior, now cheeky and blind, now restrained and closed.

Telling the story of the awakening in the soul of this girl of a strong and deep feeling of love, Turgenev, with great skill as an artist-psychologist, reveals Asya's original nature. “Asya needs a hero, an extraordinary person,” Ganin says about her. She naively admits that “she would like to be Tatiana,” whose image attracts her with its moral strength and integrity; she does not want her life to be boring and colorless: she is attracted by the thought of some "difficult feat", of a bold and free flight to unknown heights. “If you and I were birds, how would we soar, how would we fly” ... - Asya says to the person she fell in love with.

But she had to be bitterly disappointed: Mr. N.N. does not belong to the number of heroes capable of a bold feat, of a strong, selfless feeling. In his own way, he is sincerely infatuated with Asya, but this is not true love, free from doubts and hesitation. When Ganin directly puts the question to him: "You will not marry her, do you?" - he cowardly avoids a clear answer, because "the inevitability of a quick, almost instantaneous decision" tormented him. Even alone with himself, he does not want to admit that he is frightened not only by the wild disposition of a seventeen-year-old girl, but also by her “dubious” origin, because the master's prejudices are too deeply ingrained in his nature. In the scene of the last meeting with Asya, Turgenev debunks his hero, depicting him as an indecisive, morally flabby, weak-willed and cowardly person. The author ultimately reveals the inconsistency of Mr. N.N. in terms of the public.

Recognizing that "the character of the hero is faithful to our society," Chernyshevsky, in his critical article "Russian Man for a Rendezvous," notes the typicality of the miserable figure of Mr. N.N. with his indecision and "petty-timid selfishness." With greater harshness and adherence to principles than the author of the story, in the epilogue somewhat softening the image of his hero, Chernyshevsky pronounces a merciless verdict on the entire social group represented by the hero of the story.

Leo Tolstoy spoke about the work of I.S. Turgenev, that he used his talent not to hide his soul, as they did and do, but to turn it out. Both in life and in the scriptures, he was motivated by faith in good - love and selflessness ...

I.S. Turgenev entered Russian literature, first of all, as a subtle researcher of human inner experiences, who embodied them in an unusually lyrical form. By the master psychological analysis he showed himself in the story "Asya" (1858). Already contemporaries were struck in this work by the depth, accuracy, dynamism in the depiction of incipient love, the spontaneity of the narration. It is no coincidence that Nekrasov noted that this story "breathes with poetry," light, and joy.

Outwardly, the work tells about a deep feeling that opened in the heart of young Asya and a young Russian traveler who did not reciprocate this feeling, recalling those distant days of youth already alone. Internally, this love story reveals the spiritual, psychological appearance of each character, the essence of which is tested by love. Hence the subtlety in conveying the emotional experiences of the characters. In the eyes of the reader, they are transformed by love, but this love never brings them happiness.

The sincerity, believability of the events described is conveyed through the form of a first-person narration. The reader is faced with the image of an already middle-aged nobleman who remembers himself twenty years ago during his journey along the Rhine. Hence the harmonious combination in the story of emotionality, fervor of perception of a young man and the wise thoughts of a person who has lived a life. The narrator simultaneously describes his immediate experiences here, now and looks at himself from the outside.

This technique allows you to tune the reader into a confidential dialogue, together to reflect on the reasons for the uncomplicated feelings, the aimlessly lived life. In his youth, Mr. N is an observant young man with a keen sense of nature and striving to communicate with people. He admires the beauty of nature: the town seems to him soaring upward, he enjoys the joyful play of light, "the shining transparency of the air."

It would seem that psychologically he is open to great feeling. But the author makes it subtle to understand that selfish thoughts were imperceptibly awakened in his character: he was used to living without a goal, without looking back, he took youth for granted, he just wanted to enjoy life. Such were the beginnings of his weakness, cowardice, an obvious lack of understanding that Asya loves him with all her soul, openly, freely, completely.

Psychologically, a sad collision of relations between Asya and Mr. N. arises in the story. A subtle psychological game begins because this gentleman does not notice the obvious, does not have the courage to open his heart to true feeling, to take responsibility. In terms of the strength of psychological experiences, the depth of the spiritual world, he cannot be compared with a girl who, in her sincere striving for love, is wiser and more perspicacious than him. The secret psychologism of the story is revealed not only through the internal monologues-reasoning of the protagonist, the behavior of Asya, who met her true love, is psychologically accurately described.

Initially, this amazing girl is a mystery for the main character. He cannot and does not want to grasp her inner experiences, cherished thoughts, although they were so transparent and natural. Outwardly, Asya each time appeared before him a new, unknown: he seemed to him too mobile, risky, then extremely sincere and sincere. She could also appear as a well-bred young lady, reminiscent of a homely Dorothea, a truly Russian girl, singing "Mother, my dear" and wild.

Such a rapid change in behavior was explained by Asya's emotional impulses to love and understanding of the protagonist. She was extremely open to her feelings and at the same time did not know how to express it, how to behave with a loved one. In the story, Asya undergoes her evolution from a graceful, dreamy girl to a rejected girl, deceived in her hopes.

At the same time, her feeling becomes more complicated, filled with new content. At first, Asya appears before the reader open to the world, not afraid to stand over the abyss on the old tower, figuratively perceiving the world. She could trust nature, people, she was internally free. This state was inaccessible to the main character, who closed himself around his own Ego. Therefore, he was annoyed, looking at Asya.

At the same time, she showed a daring grin, explained by a strangled pride, Asya's ambivalent position in society. By birth she is the illegitimate daughter of a wealthy landowner, father of Gagaev. By upbringing and outlook on life, she was a noble noblewoman who was capable of a difficult feat, a sacrifice. The ambivalent position developed in the heroine mistrust, pride. She was ashamed of the painful experiences of her origins. Asi's whole being strove for the truth. She is used to making high spiritual demands on herself and the people around her. It is no coincidence that the story says that Asya resembles Raphael's Galatea. This is not a “chameleon” girl, as Mr. N. thought about her. She is a strong personality, demanding truth and frankness in everything. She is outwardly fragile, graceful girl with tremendous spiritual potential.

The strength of Asya's feelings can hardly be compared with the cowardice of the protagonist, stepping over his feelings for the sake of ridiculous prejudices. In people, Asya despises flattery and cowardice most of all. That is why, during the final explanation with the main character, seeing his indecision and weakness, she immediately leaves him, leaves forever. Turgenev shows what strength, spiritual takeoff, Asya's feeling reached when she confesses that she is ready to take off like free birds. Asya was so open to her love that she was ready to entrust her fate to Mr. N. How much sincerity, gratitude lies in just one word, which she uttered during their last meeting - "yours"! Asya suffers, worries, does not want to be considered frivolous, even gets sick because of the uncertainty in the attitude of the protagonist towards her. And he, in turn, began to reproach her for her excessive openness and sincerity.

Only many years later, after the experience gained, the narrator realizes the value of what he has deprived himself of. He did not see, did not feel his own happiness, which itself was revealed to him. All the fault of the Ego, which causes cowardice, fear, prejudice. The mastery of the secret psychologism of I.S. Turgenev in this story finds its expression in the disclosure of the inner world of two characters so distant to each other, one of whom with his love could embrace the whole world, fly to heaven, the other remained on earth, sadly looking at the sky.

Alekseeva Evgeniya

This work examines some of the "similarities" in genre, composition, ideological content, character outlining in I.S.Turgenev's stories "Asya" and "First Love".

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Municipal educational institution

"Verkhneuslonskaya gymnasium"

Verkhneuslonsky municipal district

Republic of Tatarstan

Comparative analysis

genre-thematic, compositional parallels

In the stories of I.S. Turgenev "Asya" and "First Love"

(Study)

Performed:

Alekseeva Evgeniya, 9th grade student

Supervisor:

Tikhonova T.N., Russian teacher

Language and Literature

1. Introduction ……………………………………………………………………………. 2 p.

1. Comparative analysis of the stories of I.S. Turgenev

“Asya”, “First Love” …………………………………………………… .3 p.

Genre, plot ………………………………………………………………………. 3 p.

Mr. N.N. and Volodya ………………………………………………. 3 p.

Women's images ……………………………………………………………… ..4 p.

The theme of death in stories ………………………………………………. 6 p.

The role of masterpieces of art …………………………………………… .6 p.

Features of the composition ………………………………………………. 7 p.

3. Conclusion ……………………………………………………………………………… 9 p.

4. References ……………………………………………………………… 10 pages.

I. Introduction.

Love ... This is probably the most mysterious of all human feelings. How to deal with heart disease, how to overcome sadness? Unrequited love - what is it? How this sacrament of love is performed, how a miracle happens: the world magically changes for the one who loves! The colors are brighter, the sounds are clearer! Having fallen in love, a person feels more subtly, sees more sharply, his heart opens for beauty and goodness.

Love, like a candle introduced into a dark, abandoned room, illuminates life. But is she durable and happy? Yes, the candle of love is short-lived, but it symbolizes both the eternal sun and the inextinguishable spirit, from the outside and from the inside, warming a person.

I.S. Turgenev, perhaps, one of the few writers with poetic trepidation narrates about the birth of an eternally young feeling - love. Tragically indifferent and seductively beautiful at the same time, his love has its downside. The joy and delight of first love softens its hard tragedy. In the stories "Asya" and "First Love", the author considers the feeling of love as inevitable submission and voluntary dependence, fate dominating a person.

In "Asa" and in "First Love" the main themes are similar. This lost happiness that was so close and so possible, this bitter and fruitless remorse. The main character in these stories is not the organizer of his own destiny. Rather, a destroyer. Love, in Turgenev's view, is an element, it is not subject to a person, a person cannot make it serve his happiness.

Despite the century that has passed since the writing of the stories, despite the significantly changed relations between people, the position of the author of "First Love" and "Asi" remains understandable and close to the modern reader, perhaps because the first love is a concept that exists outside of time. Turgenev's talent and skill allow us to make sure that the feelings experienced by his heroes in the last century are quite relevant today.

Both stories aroused a keen interest in me and made me want to study them more closely. Therefore, in this work I consider some "similarities" in the genre, composition, ideological content, characters of the characters.

II. Comparative analysis.

I.S. Turgenev builds most of his works as a story - a memory. As a result, "there is not only reproduction, but also the transformation of the experience in memory." The writer's works are distinguished by a unique tonality - the intonation of the elegy, the intonation of the bright sadness of memories.

Asya is built like a first-person story. A certain Mr. N.N. tells about his love, who, after many years, sums up his own life. Already an elderly person finds it necessary to single out this small episode as almost the main one in the series of years he has lived. He evaluates his words and actions in a different way, from the height of the experience.

The plot of the story "First Love" has much in common with "Asya". Both here and there the old man tells about his first feeling. Reading Asya, we can only guess who the listeners of Mr. NN were. In the introduction of First Love, both the characters and the situation are concretized. The heroes are named by name - "the owner, yes Sergei Nikolaevich, yes Vladimir Petrovich." Telling the story of the first love - this option for passing the time is offered by the owner of the house to guests after a delicious dinner. The decision to consolidate the experience on paper shows its significance for Vladimir Petrovich. Thus, we can classify Turgenev's story "First Love" as an epistolary genre with a pronounced composition "story within a story."

Both heroes are united by the tragedy of love and regret about the words that were not spoken in time: “No! not a single eye replaced me those eyes that were once lovingly fixed on me, nor to whose heart, which clung to my chest, my heart did not respond with such a joyful and sweet sinking! " ("Asya", Ch. 22), "Oh, what would I do if I lost time in vain!" What are the memories of that quickly flown, morning, spring thunderstorm? " ("First Love", Ch. 22), "Oh meek feelings, soft sounds, kindness and the calming down of a touched soul, the melting joy of the first affection of love - where are you, where are you?" ("First Love", Ch. 7). Why didn't the happiness of our heroes take place? Maybe because of the excessive contemplative attitude to the world of Mr. N.N. and excessive shyness and obedience to Volodya's father?

It is this that does not allow the heroes to comprehend in time their attitude to people and even to understand themselves, this does not allow them to perform the right action. At decisive moments in their lives, both begin to reflect, delve into themselves, analyze their mental and psychological state. But sometimes just one word spoken at the right time is enough for happiness. "... and meanwhile, my heart was very bitter." “However,” I thought, “they know how to pretend! But why? What a hunt to fool me? I did not expect this from him ... ”(“ Asya ”, ch.6); "Already my hands were sliding around her camp ... But suddenly the memory of Gagin, like lightning, flashed through me." ("Asya", ch.16). "I suddenly felt very sad ... I tried not to cry ..." ("First Love", Ch. 4)

N.N. already an adult formed young man of 25 years old, Volodya is an inexperienced enthusiastic young man of 16 years old ...

Both of them were incredibly lucky: fate gave them a rare gift - they loved and were loved. And true love does not go unnoticed. “I am unable to convey the feeling with which I retired. I would not want it to happen again; but I would consider myself unhappy if I never experienced it. " ("First Love", ch. 20).

Female images in Turgenev's work are covered with special poetry. Thanks to Asya and Zinaida, the famous literary term "Turgenev girl" appeared. What unites these heroines?

Asya is an extravagant girl of 17 years old, a man of action, lives in the name of love and people. She "had something of her own, special, in the stock of her swarthy, round face, with a small thin nose, almost childish cheeks and black light eyes." Asya lives by the direct movement of the heart, not a single feeling is in her half. Turgenev reveals Asya's inner world from the first pages of the story. She is characterized by a subtle experience of beauty. For living, she chose a poetic house, from where "the view was definitely wonderful." She knows how to see beauty where no one notices her. (Suffice it to recall the lunar pole broken by Mr. N.N.). It was with the advent of Asya that Mr. begins to feel the nature subtly: "... I was especially struck by the purity and depth of the sky, the radiant transparency of the air" (Ch. 2).

Zinaida appears as a vision between the bushes of green raspberries in the garden, thereby Turgenev emphasizes the heroine's unity with nature, the girl's inner harmony. It is no coincidence that in moments of sadness she asks her page to read Pushkin's "On the Hills of Georgia": "This is what poetry is good at: it tells us what is not and what is not only better than what is, but even more like the truth ..." (Ch. nine). Like Green's Assol, Zinaida "sees more than what is visible."

In love, Zinaida turns out to be a talented poetess: she offers a plot for a poem from the times of Ancient Greece and Rome, at other times the heroine imagines "the purple sails that were on Cleopatra's golden ship when she rode towards Antony."

In the proud princess, a feeling of rejection breaks through, which makes her akin to Asya. Illegitimate Asya wants

"... to make the whole world forget its origin ..." (Ch.8). Because of the false position, “self-esteem developed in her strongly, mistrust also; bad habits took root, simplicity disappeared. ”; "... but her heart did not deteriorate, her mind survived." (chapter 8). Zinaida is also burdened by her mother's bad manners, her untidiness, poverty, promiscuity in her acquaintances: “Look around ... Or do you think that I don’t understand this, I don’t feel it? .. and you can seriously assure me that such a life is worth it, so as not to risk it for a moment of pleasure - I’m not talking about happiness ”(Ch. 10)

Both heroines are not satisfied with an empty and idle existence: Asya dreams of "going somewhere ... to prayer, to a difficult feat", wants to "live for good reason, leave a trace behind ..." (Ch. 9), fly up like birds. Zinaida, however, “... I would have gone to the ends of the earth” (Ch. 9) or dashed off into the dark into the night with the Bacchantes.

Both heroines crave strong, sincere feelings. Asya “... is able to fall ill, run away, make an appointment ...” (Ch. 14), she “... needs a hero, an extraordinary person ...” (Ch. 8). Zinaida confesses to Volodya: “No; I cannot love such people, at which I have to look from top to bottom. I need someone who would break me himself ... ”(Ch. 9). Indeed, the Turgenev girls are ready to obey, they are ready to endure pain for the sake of love, they are ready to sacrifice themselves. Asya, in a fit of passion, writes a letter to Mr. NN, invites him on a date: “... her head quietly lay on my chest, lay under my burning lips ...

Your ... - she whispered, barely audible. " (ch. 16). Zinaida, on the other hand, accepts the blow with the whip with tremulous gratitude: "... slowly raising her hand to her lips, she kissed the scar that had been cured on it." (Ch. 21). And even signs of falling in love are manifested in them in the same way: humility, thoughtfulness, sadness, frequent mood changes and an abundance of questions, as if, asking others, they want to hear the answer to their feelings.

Perhaps Turgenev's men are superior to Turgenev's women in prudence, but they are immeasurably inferior in vitality and uncompromising, give in to the integral sense of the heroines.

Turgenev invariably sounded the theme of death next to love. Asya dies morally, her feelings and life are broken, Anna Nikolaevna appears on the pages, who will never look at the world with "bright black eyes" and laugh with "quiet joyful laughter." Physical death overtakes father Volodya and Zinaida. In the finale of both stories, elegiac philosophizing on the theme of death sounds: "So the light evaporation of insignificant grass experiences all the joys and all the sorrows of a person - it experiences the person himself." ("Asya", Ch. 22). Human life is quickly coming to an end. Nature is eternal. In "First Love" there is a slightly different interpretation of this theme: a person is built in such a way that he loves life and does not want to part with it: "The old body still persisted." The "horror of death" is largely explained by the consciousness of grievous unrepentant sins. “Lord, forgive me my sins,” the dying old woman kept whispering. "And I remember ... I felt scared for Zinaida, and I wanted to pray for her, for my father - and for myself." ("First Love", Ch. 22).

All the heroes of Turgenev are aesthetically developed, hence the strongest influence of the masterpieces of art and literature on them. The background of the love of Mr. N.N. and Asi serves Lanner's waltz. The heroes remember Pushkin, read "Hermann and Dorothea" by I. Goethe. Volodya associates himself with Shakespeare's Othello, is under the impression of Schiller's "Robbers", recites "On the Hills of Georgia" by A.S. Pushkin by heart.

The composition of the stories is interesting: at the very beginning, the author foreshadows trouble through the details of the landscape: in "Asa" - Mr. N.N. lunar column (Ch. 2). In "First Love" there is a thunderstorm (Ch. 7).

I was also surprised to find that each of the stories consists of 22 chapters! Is this a coincidence? 22 - an even number, a pair of even numbers. Heroes could be together, heroes could be happy if they acted on time. Mr. N.N. postponed his happiness “for tomorrow”, but “happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has a present - and that is not a day, but a moment ”(“ Asya ”, ch.20). And Volodya was going to visit the former "passion" for too long: she died. “The thought that I could see her and did not see her and will never see her - this bitter thought stuck into me with all the force of an irresistible reproach” (“First Love”, Ch. 22)

III. Conclusion.

I tried to draw parallels between the two stories of I.S. Turgenev about the first love. After analyzing both works, I saw the similarity of themes: experiences of first love, similarity of ideological content: lost happiness, similarity of genres: elegiac memories, similarity of compositions: 22 chapters each, narrated in the first person, similarity in the characters of the characters: strong, passionate, gentle women and indecisive men. Nevertheless, each story is charming in its own way. The plots are entertaining, poignant, the narrative language is expressive. Maybe these stories still attract readers with their autobiography? Turgenev himself highly appreciated his creations: "I wrote her (" Asya ") warmly, almost with tears", "This (" First Love ") is the only thing that still gives me pleasure, because it is life itself , it is not composed ... ".

I want to finish my work with the words of N.A. Verderevskaya: “A person who has known love touches the great mystery of life ... Turgenev's hero ... cannot stop loving ... Once the experience is always unique, and the trace that it leaves in the soul of a person is a bleeding wound. And here there is no place for skepticism, irony, or an emphasized author's aloofness. " Turgenev bows his head in front of the power of feeling.

Literature:

1. IS Turgenev “Stories. Stories. Poems in Prose ", Moscow," Bustard ", 2002.
2. OV Timashova "Russian classics of the 19th century", Saratov, "Lyceum", 2005.
3. VA Nedzvetskiy "Love in the life of a Turgenev hero" - ЛВШ, 2006, №11.
4. VA Nedzvetskiy Sophisticated harmony "- ЛВШ, 2002, №2.

Ivan Turgenev not only made a significant contribution to the development of Russian literature within the framework of the existing directions, but also discovered new distinctive features of the national culture. In particular, he created the image of a Turgenev young lady - he revealed the unique character of a Russian girl on the pages of his books. To get acquainted with this person, it is enough to read the story "Asya", where a woman's portrait acquired unique features.

The writer was busy writing this work for several months (from July to November 1857). He wrote hard and slowly, because illness and fatigue were already making themselves felt. Who is the prototype of Asya is not known exactly. Among the versions, the prevailing point of view is that the author described his illegitimate daughter. Also, the image could reflect the fate of his paternal sister (her mother was a peasant woman). Turgenev, from these examples, knew well how a teenager felt in such a situation, and reflected his observations in the story, showing a very delicate social conflict, of which he himself was to blame.

The work "Asya" was completed in 1857 and published in "Sovremennik". The story of the story, told by the author himself, is as follows: once Turgenev in a German town saw an elderly woman who was looking out of a window on the first floor, and the head of a young girl on the floor above. Then he decided to imagine what their fate might be, and embodied these fantasies in the form of a book.

Why is the story called that?

The work got its name in honor of the main character, whose love story is in the center of the author's attention. His main priority was to reveal the ideal female image, which was named "Turgenev's young lady". To see and appreciate a woman, according to the writer, is possible only through the prism of the feelings that she is experiencing. Only in him is its mysterious and incomprehensible nature fully revealed. Therefore, his Asya experiences the shock of her first love and experiences it with the dignity inherent in an adult and mature lady, and not that naive child that she was before meeting N.N.

This reincarnation is shown by Turgenev. At the end of the book, we say goodbye to Asya the child and meet Anna Gagina - a sincere, strong woman who knows her worth, who does not agree to compromises: when N.N. he was afraid to surrender to the feeling completely and immediately recognize it, she, overcoming the pain, left him forever. But in memory of the bright time of childhood, when Anna was still Asya, the writer calls his work this diminutive name.

Genre: Novel or Story?

Of course, Asya is a story. The story is never divided into chapters, and its volume is much less. The segment from the lives of the characters depicted in the book is smaller than in the novel, but longer than in the smallest form of prose. Turgenev also adhered to this opinion about the genre nature of his creation.

Traditionally, there are more characters and events in the story than in the story. In addition, the subject of the image in it becomes precisely the sequence of episodes in which causal relationships are revealed, which lead the reader to realize the meaning of the final of the work. This also happens in the book "Asya": the characters get to know each other, their communication leads to mutual interest, N.N. learns about the origin of Anna, she confesses her love for him, he is afraid to take her feelings seriously, and in the end all this leads to a breakup. The writer first intrigues us, for example, shows the strange behavior of the heroine, and then explains it through the story of her birth.

What is the work about?

The main character is a young man, on whose behalf the story is told. These are the memories of a mature man about the events of his youth. In "Asa" a middle-aged socialite N.N. recalls a story that happened to him when he was 25 years old. The beginning of his story, where he meets his brother and sister Gagins, is an exposition of the story. Place and time of action - "a small German town Z. not far from the Rhine (river)." The writer is referring to the city of Sinzig in the province of Germany. Turgenev himself traveled there in 1857, at the same time he finished the book. The narrator writes in the past tense, stating that the events described took place 20 years ago. Accordingly, they occurred in June 1837 (the month is reported by N.N. himself in the first chapter).

What Turgenev wrote about in "Asa" is familiar to the reader since the time of reading "Eugene Onegin". Asya Gagina is the same young Tatyana, who first fell in love, but did not find reciprocity. It was the poem "Eugene Onegin" that N.N. for the Gagins. Only the heroine in the story does not look like Tatiana. She is very changeable and fickle: now she laughs all day long, now she walks gloomier than a cloud. The reason for this state of mind lies in the difficult story of the girl: she is Gagin's illegitimate sister. In high society, she feels herself a stranger, as if unworthy of the honor that has been shown to her. Thoughts about her future position constantly weigh on her, so Anna has a difficult character. But, in the end, she, like Tatyana from Eugene Onegin, decides to confess her love to N.N. a laughing stock. Asya, hearing a reproach instead of a confession, runs away. And N.N. realizes how dear she is to him, and decides the next day to ask for her hand in marriage. But it is already too late, since the next morning he learns that the Gagins have left, leaving him a note:

Goodbye, we will not see you again. I'm not leaving because of pride - no, I can't do otherwise. Yesterday, when I cried in front of you, if you had told me one word, only one word, I would have stayed. You didn't say it. Apparently, it's better this way ... Goodbye forever!

The main characters and their characteristics

The reader's attention is attracted, first of all, by the main characters of the work. It is they who embody the author's intention and are the supporting images on which the narrative is built.

1. Asya (Anna Gagina)- a typical "Turgenev young lady": she is a wild, but sensitive girl who is capable of true love, but does not accept cowardice and weakness of character. This is how her brother described her: “Self-love developed in her strongly, mistrust too; bad habits took root, simplicity disappeared. She wanted (she herself confessed this to me once) to make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and was proud of her. " She grew up in nature on an estate, studied at a boarding house. At first she was raised by her mother, a maid in her father's house. After her death, the girl was taken to his master. Then the upbringing was continued by his legitimate son, the brother of the main character. Anna is a modest, naive, well-educated person. She has not yet matured, so she plays the fool and plays pranks, not taking life seriously. However, her character changed when she fell in love with N.N .: he became fickle and strange, the girl was sometimes too lively, sometimes sad. Changing images, she unconsciously tried to attract the attention of the gentleman, but her intentions were absolutely sincere. She even fell ill with a fever from a feeling overwhelming her heart. From her further actions and words, we can conclude that she is a strong and strong-willed woman, capable of sacrificing for the sake of honor. Her description was presented by Turgenev himself: “The girl, whom he called his sister, at first glance seemed to me very pretty. There was something of her own, special, in the warehouse of her swarthy, round face, with a small thin nose, almost childish cheeks and black, light eyes. She was gracefully built, but as if not yet fully developed. " The somewhat idealized image of Asya was repeated in the faces of other famous heroines of the writer.
2. N.N.- a storyteller who, 20 years after the event described, takes up a pen to relieve the soul. He can’t forget about his lost love. He appears before us as a selfish and idle rich young man who travels with nothing to do. He is lonely and afraid of his loneliness, because, by his own admission, he loves to be in a crowd and look at people. At the same time, he does not want to get acquainted with the Russians, apparently, he is afraid to disturb his peace. He ironically remarks that "he considered it his duty to indulge in sadness and loneliness for a while." This desire to show himself even in front of himself reveals the weaknesses of nature in him: he is insincere, fake, superficial, seeking an excuse for his idleness in fictitious and contrived suffering. One cannot fail to note his impressionability: thoughts about his homeland angered him, meeting with Anna made him feel happy. The main character is educated and noble, he lives "as he wants", and he is characterized by inconstancy. He understands art, loves nature, but cannot find application for his knowledge and feelings. He likes to analyze people with his mind, but he does not feel them with his heart, so he could not understand Asya's behavior for so long. Love for her revealed not the best qualities in him: cowardice, indecision, selfishness.
3. Gagin- Anna's older brother, who takes care of her. This is how the author writes about him: “It was just a Russian soul, truthful, honest, simple, but, unfortunately, a little sluggish, without tenacity and inner heat. Youth did not boil in him like a key; it glowed with a quiet light. He was very sweet and smart, but I could not imagine what would become of him as soon as he matured. " The hero is very kind and helpful. He honored and respected the family, because he fulfilled his father's last will honestly, and he loved his sister like his own. Anna is very dear to him, so he sacrifices friendship for the sake of her peace of mind and leaves N.N., taking the heroine away. In general, he willingly sacrifices his own interests for the sake of others, because in order to raise his sister, he retires and leaves his homeland. Other characters in his description always look positive, he finds an excuse for all of them: both the secretive father and the compliant maid, the headstrong Asya.

Minor characters are only mentioned in passing by the narrator. This is a young widow on the waters who rejected the narrator, Gagin's father (a kind, gentle, but unhappy person), his brother, who arranged for his nephew to serve in Petersburg, Asya's mother (Tatyana Vasilievna is a proud and unapproachable woman), Yakov (butler of Gagin the elder) ... The description of the heroes given by the author allows even deeper understanding of the story "Asya" and the realities of the era that became its basis.

Theme

1. Love theme. Ivan Sergeevich Turgenev wrote many stories about this. For him, a feeling is a test of the heroes' souls: “No, love is one of those passions that breaks our“ I ”, makes us, as it were, forget about ourselves and our interests," said the writer. Only a real person can truly love. However, the tragedy is that many people cannot cope with this test, and it takes two for love. When one has failed to truly love, the other is undeservedly left alone. So it happened in this book: N.N. could not pass the test of love, but although Anna coped with it, she still could not stand the resentment of neglect and left forever.
2. The topic of the superfluous person in the story "Asya" also occupies an important place. The main character cannot find a place for himself in the world. His idle and aimless life abroad is proof of this. He wanders about in search of what is unknown, because he cannot apply his skills and knowledge in the present case. His inconsistency is also manifested in love, because he is afraid of the girl's direct recognition, he is afraid of the strength of her feelings, so he cannot realize in time how dear she is to him.
3. The theme of the family is also raised by the author. Gagin raised Asya as his sister, although he understood the complexity of her situation. Perhaps it was this circumstance that pushed him on a journey where the girl could be distracted and hide from sidelong glances. Turgenev emphasizes the superiority of family values ​​over class prejudices, urging his compatriots to care more about family ties than about the purity of blood.
4. Nostalgia theme. The whole story is imbued with the nostalgic mood of the protagonist, who lives on the memories of the time when he was young and in love.

Problematic

• The problem of moral choice. The hero does not know how to do the right thing: is it worth taking responsibility for such a young and offended creature? Is he ready to say goodbye to single life and tie himself to one single woman? In addition, she had already deprived him of his choice by telling her brother about everything. He was annoyed that the girl took all the initiative, and therefore accused her of being too frank with Gagin. N.N. was bewildered, and even not experienced enough to unravel the subtle nature of his beloved, so it is not surprising that his choice was wrong.
• Feeling and duty problems. Often these principles are in opposition to each other. Asya loves N.N., but after his hesitations and reproaches, she realizes that he is not sure of his feelings. Debt of honor commands her to leave and not meet with him again, although her heart rebelles and asks to give her beloved one more chance. However, her brother is adamant in matters of honor, so the Gagins leave N.N.
• Problem extramarital affairs... In the time of Turgenev, almost all nobles had illegitimate children, and this was not considered abnormal. But the writer, although he himself became the father of such a child, draws attention to how bad it is for children whose origin is outside the law. They suffer without guilt for the sins of their parents, suffer from gossip and cannot arrange their future. For example, the author depicts Asya studying at a boarding school, where all the girls treated her with disdain because of her history.
• The problem of adolescence. Asya at the time of the described events is only 17 years old, she has not yet formed as a person, therefore her behavior is so unpredictable and eccentric. It is very difficult for my brother to deal with her, because he does not yet have experience in the parental field. And N.N. could not understand her contradictory and sentimental nature. This is the reason for the tragedy of their relationship.
• The problem of cowardice. N.N. afraid of serious feelings, so she does not say the very cherished word that Asya was waiting for.

Main thought

The story of the main character is a tragedy of naive first feelings, when a young dreamy person for the first time encounters the cruel realities of life. Conclusions from this collision are the main idea of ​​the story "Asya". The girl went through a test of love, but many of her illusions were shattered in it. In indecision N.N. She read the sentence to herself, which her brother had mentioned earlier in a conversation with a friend: in such a situation she cannot count on a good game. Few will agree to marry her, no matter how beautiful or fun she is. She had seen before that people despise her for her unequal origin, but now the person she loves hesitates and does not dare to bind himself with a word. Anna interpreted this as cowardice, and her dreams crumbled to dust. She learned to be picky about her boyfriends and not trust them with her heart's secrets.

Love in this case opens the adult world to the heroine, literally pulling her out of her blissful childhood. Happiness would not be a lesson for her, but a continuation of a girl's dream, it would not reveal this contradictory character, and Asya's portrait in the gallery of female types of Russian literature was greatly impoverished from the happy ending. In the tragedy, however, she gained the necessary experience and became richer spiritually. As you can see, the meaning of Turgenev's story is also to show how the test of love affects people: some show dignity and fortitude, others - cowardice, tactlessness and indecision.

This story from the mouth of a mature man is so instructive that it leaves no doubt that the hero recalls this episode of his life in order to edify himself and the listener. Now, after so many years, he realizes that he himself has missed the love of his life, that he himself has destroyed this sublime and sincere relationship. The narrator urges the reader to be more attentive and more decisive than himself, not to let his guiding star go away. Thus, the main idea of ​​the work "Asya" is to show how fragile and fleeting happiness is, if it is not recognized in time, and how merciless is love that does not give a second try.

What does the story teach?

Turgenev, showing the idle and empty way of life of his hero, says that the carelessness and purposelessness of existence will make a person unhappy. N.N. in old age, he bitterly complains about himself in his youth, regretting the loss of Asya and the very opportunity to change his fate: "It did not even occur to me then that a man is not a plant and he cannot flourish for a long time." He realizes with bitterness that this "bloom" has not borne fruit. Thus, morality in the story "Asya" reveals to us the true meaning of being - you need to live for the sake of a goal, for the sake of loved ones, for the sake of creativity and creation, no matter how it is expressed, and not for the sake of only oneself. After all, it was egoism and the fear of losing the opportunity to “bloom” that prevented N.N. utter the very cherished word that Anna was waiting for.

Another conclusion that Ivan Sergeevich Turgenev makes in "Asa" is the assertion that one should not be afraid of one's feelings. The heroine gave herself to them completely, burned with her first love, but she learned a lot about life and about the person to whom she wanted to devote her. Now she will be more attentive to people, learn to understand them. Without this cruel experience, she would not have revealed herself as a person, would not have understood herself and her desires. After breaking up with N.N. she realized what the man of her dreams should be like. So do not be afraid of sincere impulses of the soul, you need to give them free rein, and come what may.

Criticism

The reviewers called N.N. a typical literary embodiment of the "superfluous person", and later singled out new type the heroine is a "Tugenevskaya young lady". Especially carefully the image of the protagonist was investigated by the ideological opponent of Turgenev - Chernyshevsky. He dedicated an ironic article to him entitled “Russian man on rendez-vous. Reflections on reading the story "Asya" ". In it, he condemns not only the moral imperfection of the character, but also the squalor of the entire social group to which he belongs. The idleness and selfishness of the offspring of the nobility ruins real people in them. It is in this that the critic sees the cause of the tragedy. His friend and colleague Dobrolyubov enthusiastically appreciated the story and the author's work on it:

Turgenev ... talks about his heroes as about people close to him, snatches their hot feeling from his chest and with tender sympathy, watches them with painful trepidation, he himself suffers and rejoices along with the faces he created, he himself is carried away by the poetic environment that he loves always surround them ...

The writer himself speaks very warmly of his creation: "I wrote it very hotly, almost in tears ...".

Many critics responded positively to Turgenev's work "Asya" even at the stage of reading the manuscript. I. I. Panaev, for example, wrote to the author about the impression of the editorial board of Sovremennik in the following expressions:

I, the proofreader, and moreover, Chernyshevsky, read the proof-reading. If there are still mistakes, it means that we have done everything we could, and we don't know how to do it better. Annenkov has read the story, and you probably already know his opinion about it. He is delighted

Annenkov was a close friend of Turgenev and his main critic. In a letter to the author, he praises his new work, calling it "a frank step towards nature and poetry."

In a personal letter dated January 16, 1858, E. Ya. Kolbasin (a critic who positively evaluates Turgenev's work) told the writer: “Now I came from the Tyutchevs, where there was a dispute over Asya. I like too. They find that Asya's face is taut, not alive. I said the opposite, and Annenkov, who arrived in time for the dispute, completely supported me and brilliantly refuted them. "

However, it was not without controversy. The editor-in-chief of the Sovremennik magazine, Nekrasov, suggested changing the scene of the explanation of the main characters, believing that it belittles the image of N.N. too much:

One remark, personally mine, and that is unimportant: in the scene of the meeting at the knees, the hero unexpectedly showed unnecessary rudeness of nature, which you do not expect from him, bursting out with reproaches: they should be softened and diminished, I wanted to, but did not dare, especially since Annenkov against this

As a result, the book was left unchanged, because even Chernyshevsky stood up for it, who, although he did not deny the roughness of the scene, noted that it best reflects the real appearance of the class to which the narrator belongs.

S. S. Dudyshkin, who in the article "The Stories and Tales of I. S. Turgenev", published in the "Notes of the Fatherland", opposed the "sick personality of the Russian man of the XIX century" to an honest worker - a bourgeois businessman. He was also extremely worried about the question of the historical fate of "superfluous people", posed by the author of "Asi".

Not everyone liked the story. After its publication, reproaches fell on the writer. For example, the reviewer VP Botkin told Fet: “Not everyone likes“ Asya ”. It seems to me that Asya's face failed - and in general the thing has a prosaically invented look. There is nothing to say about other persons. As a lyricist, Turgenev can only express well what he has experienced ... ". The famous poet, the addressee of the letter, was in solidarity with his friend and recognized the image of the main character as contrived and lifeless.

But most of all critics were indignant at Tolstoy, who assessed the work as follows: “'Asya' by Turgenev, in my opinion, is the weakest thing of all that he wrote” - this remark was contained in a letter to Nekrasov. Lev Nikolaevich associated the book with the personal life of a friend. He was unhappy that he arranged for his illegitimate daughter Pauline in France, forever separating her from her own mother. This "hypocritical position" was sharply condemned by the count, he openly accused his colleague of cruelty and improper upbringing of his daughter, also described in the story. This conflict resulted in the authors not communicating for 17 years.

Later, the story was not forgotten and often appeared in the statements of famous public figures of the era. For example, Lenin compared Russian liberals to an indecisive character:

... Just like the ardent Turgenev hero who escaped from Asya, about whom Chernyshevsky wrote: "A Russian man on rendez-vous"

Interesting? Keep it on your wall!

Turgenev's story "Asya" tells how the acquaintance of the protagonist, Mr. N.N. their sharpness, but doomed the hero to the fate of a bob.

On the second day of his acquaintance, he closely observes Asya, who both attracts and causes him a feeling of annoyance and even dislike for inexplicable, free actions. The hero is not aware of what is happening to him. He feels some kind of vague uneasiness that grows into anxiety incomprehensible to him; that jealous suspicion that the Gagins are not relatives.

Two weeks of daily meetings have passed. NN was more and more distressed by jealous suspicions, and although he did not fully realize his love for Asya, she gradually took possession of his heart. During this period, he is overwhelmed by persistent curiosity, some annoyance at the mysterious, inexplicable behavior of the girl, the desire to understand her inner world.

Having parted with Asya after an unsuccessful explanation, NN still does not know what awaits him in the future "the loneliness of a familyless mare", he hopes for "tomorrow's happiness", not knowing that "happiness has no tomorrow ... he has the present is not a day, but an instant. " NN's love for Asya, obeying the whimsical game of chance or the fatal predetermination of fate, will flare up later, when nothing can be fixed. The hero will be punished for not recognizing love, for doubting it. "And happiness was so close, so possible ..."

29. "Russian man on rendez vous" (Hero of the story "Asya" by I. Turgenev in the assessment of N. G. Chernyshevsky)

N. G. Chernyshevsky begins his article "A Russian Man on Rendez vous" with a description of the impression made on him by I. S. Turgenev's story "Asya". He says that against the background of the businesslike, accusatory stories prevailing at that time, leaving a heavy impression on the reader, this story is the only good thing. “Action is abroad, away from all the bad surroundings of our home life. All the faces of the story are people of the best between us, very educated, extremely humane, imbued with the noblest way of thinking. The story has a purely poetic, ideal direction ... But the last pages of the story are not like the first, and after reading the story, an impression is made of it even more dismal than of the stories about nasty bribes with their cynical robbery. " The whole thing, notes N. G. Chernyshevsky, is in the character of the protagonist (he gives the name Romeo), who is a pure and noble person, but who commits a shameful act at the decisive moment of explaining to the heroine. The critic argues with the opinion of some readers, who claim that the whole story is spoiled by "this outrageous scene", that the character of the main person could not stand it. But the author of the article even cites examples from other works of I.S.Turgenev, as well as N.A. enthusiastic girls, capable of deep feelings and decisive actions, but as soon as "the matter comes to directly and accurately express their feelings and desires, most of the heroes already begin to hesitate and feel sluggishness in the language."

“These are our 'best people' - they all look like our Romeo,” concludes N. G. Chernyshevsky. But then he takes the hero of the story under his protection, saying that such behavior is not the fault of these people, but a misfortune. This was how society brought them up: "their life was too shallow, soulless, all the relationships and affairs to which he was accustomed were shallow and soulless," "life taught them only to pale pettiness in everything." Thus, N. G. Chernyshevsky shifts the emphasis from the guilt of the hero to the guilt of society, which has excommunicated such noble people from civic interests.

30. Asya - one of the Turgenev girls (based on the story "Asya" by I. Turgenev)

Turgenev's girls are heroines, whose minds, richly gifted natures are not spoiled by light, they have preserved the purity of feelings, simplicity and sincerity of the heart; they are dreamy, spontaneous natures without any falsehood, hypocrisy, strong in spirit and capable of difficult accomplishments.

T. Vinynikova

I.S.Turgenev calls his story by the name of the heroine. However, the girl's real name is Anna. Let us think about the meanings of the names: Anna - "grace, cuteness", and Anastasia (Asya) - "born again". Why does the author stubbornly call the pretty, graceful Anna Asya? When does the rebirth take place? Let's turn to the text of the story.

Outwardly, the girl is not a beauty, although the narrator seems very "pretty". This is typical of Turgenev's heroines: personal charm, grace, and human uniqueness are important to the author in their appearance. This is exactly Asya: “There was something of her own, special, in the warehouse of her swarthy large face, with a small thin nose, almost childish cheeks and black, light eyes. She was gracefully folded ... ”What an interesting detail of the portrait: black, light eyes. This is not just an external observation, but a penetration with just the word “bright” into the depths of the heroine's soul.

At the beginning, Asya makes a strange impression on the main character, Mr. N.N. In the presence of the guest "she did not sit still at all, got up, ran into the house and ran again, sang in an undertone, often laughed." Speed, movement are the main features of the appearance of the Turgenev heroine.

Observing Asya, seeing her as a fearless and willful girl, the narrator admires her and annoys her, and feels that she is playing different roles in life. Now she is a soldier marching with a gun, which shocked the prim British; then at the table she played the role of a well-bred young lady; then the next day she introduced herself as a simple Russian girl, almost a maid. "What a chameleon this girl is!" - exclaims the narrator, more and more carried away by Asya. Communication with this "girl overflowing with life" makes the hero look at himself in a new way, and for the first time in his youth he regrets that his life forces are so uselessly wasted in wandering in a foreign land.

Much in the behavior, character of the heroine becomes clear from the history of her childhood. This story is also unusual. The girl learned early on the orphanhood and the duality of her position; a person with such a pedigree, as already, was constantly humiliated and insulted, such were not accepted by either the peasant environment or the secular society. Both the brother and then Mr. NN understood her "kind heart" and "poor head", her bashfulness and joy, "inexperienced pride", saw how "she deeply feels and what incredible strength these feelings are in her."

Asya is magnificent in the chapters where her soul is revealed, which has felt happiness. Previously, she was mysterious, she was tormented by uncertainty, she went to her idol, now he drew attention to her, but differently, “a thirst for happiness was kindled in him”. Between them endless, difficult to convey conversations of lovers begin ... And how uniquely rich Asya's soul is against the background of the fabulous beauty of nature! It is not for nothing that the author recalls the popular German legend of Lorelei.

Asya reveals itself to us deeper and more beautifully, she is characterized by an idealistic belief in the unlimited possibilities of man. She is attracted by romantic distances, she thirsts for activity and is sure that “not to live for nothing, to leave a trace behind herself”, as well as to accomplish a “difficult feat” is within the power of every person. When a girl talks about the wings that have grown from her, she means, first of all, the wings of love. With regard to Asa, this means the ability of a person to soar above the ordinary. “Yes, there is nowhere to fly,” the heroine, who has matured under the influence of great feelings, realizes. These words contain not only an understanding of the hopelessness of one's love for a young aristocrat, but a premonition of one's own difficult fate - the fate of a heavy "winged" nature in a narrow, closed world of "wingless" creatures.

This psychological contradiction between Mr. N.N. and Asya is most clearly expressed in the scene of the meeting. The fullness of Asya's feelings, her shyness, bashfulness and resignation to fate are embodied in her laconic remarks, barely audible in the silence of a cramped room. But N.N. is not ready for a responsible feeling, unable to surrender to love, which so slowly matures in his contemplative nature.

Turgenev punishes his hero with a lonely, familyless life for the fact that he did not recognize love, doubted it. And love cannot be postponed until tomorrow, this is a moment that has never been repeated in the hero's life: "Not a single eye can replace those." In his memory, she will forever remain, a Turgenev girl, strange and sweet, with a slight laugh or tear-stained eyes, a girl who can give happiness ...

31. Pictures of nature in the story of I. Turgenev "Asya"

Ivan Turgenev's story "Asya" is sometimes called the elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because it is not external events that are important to the author, but the spiritual world of the heroes, each of which has its own secret. In revealing the depths of the spiritual states of a loving person, the author is also helped by the landscape, which in the story becomes a “landscape of the soul”.

Here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, gazing into the clear sky with a motionless moon pouring out a serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.

This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances Gagin, although before that he did not like meeting Russians abroad. The emotional closeness of these young people is also revealed with the help of the landscape: the Gagins' dwelling was located in a wonderful place, which was attracted first of all by Asya. The girl immediately attracts the attention of the narrator, her presence, as it were, illuminates everything around.

“You drove into the lunar pole, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because a broken moon pillar can be compared to Ashina's broken life, the girl's broken dreams of a hero, love, flight.

The continuing acquaintance with the Gagins sharpened the senses of the narrator: he is attracted to a girl, he finds her strange, incomprehensible and surprising. The jealous suspicion that Gagins are not brother and sister makes the hero seek peace in nature: “The mood of my thoughts had to match the calm nature of that land. I gave myself all to the quiet game of chance, to the accumulated impressions ... "The following is a description of what the young man saw during these three days:" a modest corner of the German land, with unpretentious contentment, with ubiquitous traces of used hands, patient, although unhurried work ... "But the most important thing here is the remark that the hero "gave himself up to the quiet game of chances." This phrase explains the contemplative nature of the narrator, his habit of mentally not straining himself, but going with the flow, as depicted in Chapter X, where the hero actually floats home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It was at this moment that a new turn is made in the hero's inner world of merging with nature: what was vague, alarming, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asi. But the hero prefers to thoughtlessly surrender to the oncoming impressions: "I am not only about the future, I did not think about tomorrow, I felt very good." Everything further is happening rapidly: the excitement of Asya, the realization of the hopelessness of her love for the young aristocrat ("I have grown wings, but nowhere to fly"), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete "winglessness" of the narrator, a hasty flight of Asya, a sudden departure of brother and sister. During this short time, the hero regains his sight, a reciprocal feeling flares up, but it's too late, when nothing can be fixed.

Having lived for many years as a familyless mare, the narrator keeps as a shrine the girl's notes and a dried geranium flower, which she once threw to him from the window.

Asya's feeling for Mr. NN is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of the mountains, the powerful flow of rivers symbolize the free development of the heroine's feelings.

Only this "insignificant grass" and its light smell remained for the hero from that beautiful, integral world of nature and the world of Asya's soul, merged together in the brightest, most important days of the life of Mr. N.N., who lost his happiness.

32. Satirical depiction of reality in the "History of a city" by ME Saltykov-Shchedrin (chapter "On the Root of the Foolovites")

The Story of a City is the greatest satirical canvas-novel. This is a merciless denunciation of the entire system of government in tsarist Russia. The History of a City, completed in 1870, shows that the people in the post-reform period remained as powerless as the officials were tyrants of the 70s. differed from the pre-reform ones only in that they were robbed in more modern, capitalist ways.

The city of Foolov is the personification of autocratic Russia, the Russian people. Its rulers embody the specific features of historically reliable, living rulers, but these features have been brought to the "logical end", hyperbolized. All the inhabitants of Foolov - both the mayors and the people - live in some kind of nightmare, where the appearance of a ruler with an organ instead of a head, cruel tin soldiers instead of living ones, an idiot dreaming of destroying everything on earth, a blockhead who walked a mosquito eight miles is quite understandable. catch ”, etc. These images are constructed in the same way as the images of folk fantasy, but they are more terrible because they are more real. The monsters of Foolov's world were born of the same world, nourished by its rotten soil. Therefore, the satirist is not limited in "The History of a City" to just ridicule the rulers of the city, he bitterly laughs at the slavish patience of the people.

The chapter “On the Root of the Foolovites” was supposed, according to the writer, to show the tradition of the appearance of the favorite occupation of city governors - cutting and collecting arrears.

Initially, the Foolovites were called blockheads, because “they had the habit of banging their heads against everything that came along the way. The wall comes across ─ they bite against the wall; They begin to pray to God - they bite on the floor. " This "tyapanie" already speaks enough about the spiritual, innate qualities of the bunglers, who developed in them independently of the princes. With a bitter laugh, ME Saltykov-Shchedrin writes that "having gathered together the kurales, the gush-eaters and other tribes, the bunglers began to settle inside, with the obvious goal of achieving some sort of order." “It began with the fact that Kolga was kneaded with tolas, then they dragged the jelly to the bathhouse, then cooked a kosha in a purse” and did other senseless deeds, because of which even the two stupid princes they found did not want to “volody” with bunglers, calling them Foolovites. But the people could not settle down by themselves. A prince was certainly needed, "who would make our soldiers, and build a prison, which follows!" Here the "historical people" are subjected to satirical ridicule, "carrying on their shoulders the Wartkins, the Burcheyevs, etc.", whom the writer, as he himself admitted, could not sympathize with.

The bunglers voluntarily gave themselves up to bondage, "sighed unremittingly, cried out loudly," but "the drama has already taken place irrevocably." And the oppression and robbery of the Foolovites began, bringing them to riots beneficial to the rulers. And "historical times" for Foolov began with a cry: "I'll screw it up!" But despite the sharply critical attitude towards the people's passivity, obedience and long-suffering, the author in the “History of a City” in other chapters paints the image of the people with heartfelt colors, this is especially clearly manifested in scenes of national disasters.

But in his work, the author does not limit himself to showing pictures of the arbitrariness of the rulers and the patience of the people, he also reveals the process of the growing anger of the oppressed, convincing readers that it cannot continue this way: either Russia will cease to exist, or such a turning point will come that will sweep away the Russian the existing state system.

33. Folklore traditions in the "History of a city" by ME Saltykov-Shchedrin (chapter "On the Root of the Foolovites")

“The History of a City” by ME Saltykov-Shchedrin is written in the form of a chronicler-archivist's narration about the past of the city of Foolov, but the writer was not interested in the historical theme, he wrote about real Russia, about what worried him as an artist and a citizen of his country. Having stylized the events of a century ago, giving them the features of the epoch of the 18th century, Saltykov-Shchedrin appears in different qualities: first, he narrates on behalf of the archivists, compilers of the "Fool's Chronicler", then from the author, who acts as a publisher and commentator of archival materials.

Approaching the presentation inventively, Saltykov-Shchedrin managed to combine the plot and motives of legends, fairy tales, and other folklore works and simply, in an accessible way, convey to readers antimonarchist ideas in the pictures of folk life and everyday concerns of Russians.

The novel opens with the chapter "Address to the reader", stylized as an old syllable, with which the writer acquaints his readers with his goal: "to portray successively the mayors, to the city of Foolov from the Russian government at different times."

The chapter "On the Root of the Origin of the Foolovites" is written as a retelling of the chronicle. The beginning is an imitation of "The Lay of Igor's Host", a listing of famous historians of the 19th century who have directly opposite views on the historical process. Foolov's prehistoric times seem ridiculous and unreal, the actions of peoples who lived in ancient times are far from conscious deeds. That is why the Foolovites in the past were called bunglers, which in itself declares their innate essence.

Speaking about the attempts of the bunglers, having gathered together the kuroles, Guineds and other tribes, to settle inside and achieve some order, the writer cites a lot of fables: “The Volga was kneaded to the oatmeal, then they dragged the calf to the bathhouse, then they cooked porridge in the purse, then the cancer with the bell ringing they met, then they drove the pike from the eggs, ”etc.

Just like their actions, the desire of the blockheads to get themselves a prince is absurd. If in folk tales the heroes go in search of happiness, then these tribes need a ruler so that "the soldier can make, and the prison, as follows, can be built." Continuing to ironically over the bunglers, Saltykov-Shchedrin again resorts to folklore traditions: lexical repetitions, proverbs: “They were looking for, they were looking for princes and a little bit in three pines did not get lost, but thanks there was a peshekhom-blind-bred, who these three pines are like their own five I knew fingers. "

In the spirit of folk tales, "good fellows" go in search of the prince for three years and three days and find only on the third attempt, walking "with a fir-tree and a berunich, then a thicket of denseness, then with a shoulder." All these folklore traditions, combined with satire, create a unique style of the work, help the author to emphasize the absurdity and meaninglessness of Foolov's life.

But even in this chapter, ME Saltykov-Shchedrin finds an opportunity to take pity on the stupid people who voluntarily put the prince on their neck. He cites two full verses of the famous folk song "Don't make noise, mother is green oak tree", accompanying it with sad comments: "The longer the song flowed, the lower the heads of the bunglers dropped."

The author resorts to the proverb genre when he speaks of the candidates for the role of landowner to the Foolovites: “which of the two candidates should be given the advantage: the Orlovian - on the grounds that“ Eagle da Kromy are the first thieves ”, or shuyashen, on the basis that he "was in St. Petersburg, drove on the priest, and immediately fell." Yes, the reign begins with thieves and fools and will be continued by them, but it is no coincidence that from the very beginning their characterization sounds a healthy folk wit, which, but the author's thoughts, will defeat the headless monsters of Foolov's world.

Throughout the entire "History of one city" there is the idea that the long-suffering people will awaken, overcome difficulties, because they have not forgotten how to believe, love and hope.

34. Who is to blame for the suffering of the heroine? (based on the story of N. S. Leskov "The Old Genius")

The work of NS Leskov is an important stage in the formation of the national identity of Russian literature. He was not afraid to speak the most bitter truth about his country and his people, because he believed in the possibility of their change for the better. In his works, he pays special attention to the fate of commoners. And although the heroine of the story "The Old Genius" is not a peasant woman, but a landowner, she is a poor old woman who finds herself in a desperate situation. This woman is portrayed with great sympathy for the author: “by her heartfelt kindness and simplicity,” “she rescued one high-society dandy from trouble by laying down her house for him, which made up all the property of the old woman and her real estate.” Then the writer will emphasize her exceptional honesty.

The court case started by the heroine will be resolved quickly and favorably for her. But the authorities will not move beyond that. No one wants to get involved with a young man who behaves in an openly shameless manner (“we are all tired of him”), but remains unpunished, since “he had some kind of powerful kinship or property”. Therefore, even the court paper could not be handed over to him, advising the old woman to quit trying to get him to pay the debt, although they sympathized with her. Such a "trifle life" is portrayed by NS Leskov. There is no fierce condemnation of the helpless authorities, no dishonest young man, no simple-minded old woman who believes people only because she “dreams” and has a premonition. But behind this situation, so simply and artlessly conveyed, the author's serious and profound conclusions arise. When reading this story, the question involuntarily arises: if such a petty trial is not just an unrequited peasant, but a landowner, and God only knows with what significant persons, but with a young dandy from a noble family, neither the lower nor the higher authorities were able to resolve, then for what in general, then, are the authorities good enough? And what is it like for people to live with such lawlessness? The story is written about the post-reform era, and the writer shows that the essence of the state system has remained the same, that the fate of people is of little concern to officials of all ranks, that the law “who is richer is right” continues to govern life. Therefore, ordinary people will suffer from injustice, if other equally simple, but honest, decent and resourceful people do not come to their aid, where “the genius Ivan Ivanovich” is in this story. And NS Leskov fervently believed in the existence of such people, and it was with them that he pinned his hopes for the revival of Russia, for its great future.

35. Russian reality in the story of NS Leskov "Old genius"

NS Leskov belongs to the generation of writers of the 60s – 90s. XIX century, who dearly loved Russia, its talented people and actively opposed the oppression of freedom and the suppression of individual freedom. He created essays, novels, stories about the fate of ordinary people, about original historical figures, about abuse of power, outright predation. Some of his stories were in cycles. Such are the Christmastide stories, which are quite rare in Russian literature of the 19th century. genre. These are "Christ Visiting the Archer", "Darning", "Little Mistake" and others. These include the story "The Old Genius", written in 1884.

The action takes place in post-reform Russia, in St. Petersburg. The plot of the story is very simple: an old landowner, deceived by a dishonest high-society dandy, who has lent him money and mortgaged a house for this, comes to the capital to obtain justice for him. Yes, it was not there. The authorities could not help her, and the poor woman had to use the services of an unknown desperate businessman, who turned out to be a decent person, and settled this difficult matter. The narrator calls him "genius."

This story is preceded by the epigraph: "The genius has no years - he overcomes everything that stops ordinary minds." And in this story, the "genius" overcame what the state authorities could not do. And after all, they were not talking about an omnipotent personality, just about a young, windy man who belonged to one of the best families, who had bothered the authorities with his dishonesty. But the judicial authorities could not even hand over a paper to him for execution.

The author leads the story about this in a simple, as it were, a fabulous manner, without clearly condemning anyone and not making fun of. And “the lawyer met her sympathetic and merciful, and in court her decision at the beginning of the dispute was favorable”, and no one took payment from her, then suddenly it turns out in no way, “it was impossible to restrain” this deceiver because of some “powerful connections” ... Thus, NS Leskov focuses the reader's attention on the complete lack of rights of the individual in Russia.

But the peculiarity of Leskov's literary talent lies in the fact that he saw the positive beginnings of Russian life, depicted the rich talent of the Russian person, his depth and integrity. In the story "The Old Genius" this light of goodness is carried by the heroine herself, "a woman of wonderful honesty," "a kind old woman," and the narrator, who helped her out with the necessary money, and the most important "genius of thought" ─ Ivan Ivanovich. This is a mysterious person who, for some unknown reason, undertook to help the unfortunate woman and arranged a very smart situation in which the debtor was simply forced to pay.

A favorable outcome of the story falls on Christmas, and this is not accidental, since the author believes in the spiritual principle of man, in the righteous of Russian life.

36. The role of composition in Leo Tolstoy's story "After the Ball" in revealing its ideological and artistic content

In the story "After the Ball" by Leo Tolstoy, written in the 90s. XIX century, depicted in the 1840s. The writer thereby set the creative task of restoring the past in order to show that his horrors live in the present, only slightly changing their forms. The author does not ignore the problem of a person's moral responsibility for everything that happens around him.

The composition of the story, built on the basis of the “story within a story” technique, plays an important role in revealing this ideological concept. The work begins suddenly, with a conversation about the moral values ​​of being: “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad,” and just as it ends suddenly, without conclusions. The introduction, as it were, tunes the reader to the perception of subsequent events and introduces the narrator Ivan Vasilyevich. Further, he already tells the listeners an incident from his life that happened a long time ago, but answers the questions of our time.

This main part of the work consists of two pictures: a ball and a scene of punishment, and the main part in revealing the ideological plan, judging by the title of the story, is the second part.

The episode of the ball and the events after the ball are depicted using an antithesis. The opposition of these two pictures is expressed in many details: colors, sounds, mood of the characters. For example: "beautiful ball" - "which is unnatural", "famous musicians" - "unpleasant, shrill melody", "face reddened with dimples" - "face wrinkled with suffering", "white dress, in white gloves, in white shoes" - “something big, black,… these are black people”, “soldiers in black uniforms”. The last contrast between the colors of black and white is reinforced by the repetition of these words.

In contrast, the state of the protagonist in these two scenes can be expressed by the words: “I hugged the whole world with my love at that time” - and after the ball: “I was ashamed to such an extent ... into me from this sight. "

An important place in the opposed paintings is occupied by the image of the colonel. In a tall military man in an overcoat and a cap, the guiding punishment, Ivan Vasilyevich does not immediately recognize the handsome, fresh, with shining eyes and a joyful smile of his beloved Varenka's father, whom he recently looked at at the ball with enthusiastic amazement. But it was Pyotr Vladislavovich “with his ruddy face and white mustache and sideburns”, and with the same “strong hand in a suede glove” he beats a frightened, undersized, weak soldier. By repeating these details LN Tolstoy wants to show the colonel's sincerity in two different situations. It would be easier for us to understand him if he was pretending somewhere, trying to hide his true face. But no, he is still the same in the execution scene.

This sincerity of the colonel, apparently, led Ivan Vasilyevich to a dead end, did not allow him to fully understand the contradictions of life, but he changed his life path under the influence of what had happened. Therefore, there are no conclusions in the conclusion of the story. Leo Tolstoy's talent lies in the fact that he makes the reader think about the questions posed by the whole course of the narrative, the composition of the work.

Leo Tolstoy's story "After the Ball" develops the theme of "tearing off all and all kinds of masks" from the carefree, washed, festive life of some, opposing it to lawlessness, oppression of others. But at the same time, the writer makes readers think about such moral categories as honor, duty, conscience, which at all times made a person responsible for everything that happened to him and to society. We are led to these reflections by the very composition of the story, built on the contrast between the pictures of the ball and the punishment of the fugitive soldier, conveyed through the perception of the young man Ivan Vasilyevich. It is he who will have to understand “what is good and what is bad”, assess what he has seen and make a choice of his future destiny.

The life of the young man was developing happily and carefree, no "theories" and "circles" interested either him or other young people-students close to him. But at the same time, there was nothing reprehensible in their hobby for balls, skating, light revels. We are imbued with sincere sympathy for Ivan Vasilyevich at the ball, when we see him charmed by the festive atmosphere of a dinner party, tenderly in love with Varenka. The words say about the enthusiastic, responsive soul of this person: “I was not me, but some unearthly creature who knew no evil and was capable of one good”, “at that time I embraced the whole world with my love”.

And this hot, impressionable young man for the first time in his life faced with cruel injustice, with humiliation of human dignity, shown even not in relation to him. He saw that a terrible reprisal against a man was carried out in an ordinary, customary way by a man who himself had recently been kind and cheerful at the same ball.

Horror from what he saw entered the living soul of the young man, he "was so ashamed" that he "lowered his eyes", "hurried to go home." Why didn’t he interfere in what was happening, didn’t express his indignation, didn’t accuse the colonel of cruelty and heartlessness? Probably because such a terrible scene, seen for the first time, simply stunned the young man, and also embarrassed the sincerity with which the colonel behaved during this punishment. “Obviously, he knows something that I don’t know,” Ivan Vasilyevich pondered. "If I knew what he knows, I would understand what I saw, and it would not torment me." From the story we learn that Ivan Vasilyevich did not succeed in "reaching the root" in his reflections. But his conscience did not allow him to become a military man in later life, because he could not deal with a person like this "according to the law", serve cruelty.

And the character of the colonel, this really loving father, a pleasant person in society, firmly entered the distorted concepts of duty, honor, dignity, which allow trampling the rights of other people, dooming them to suffering.

In one of his articles, L. N. Tolstoy wrote: “The main harm is in the state of mind of those people who establish, allow, prescribe this lawlessness, those who use it as a threat, and all those who live in the belief that such violation of all justice and humanity is necessary for a good, right life. What a terrible moral mutilation must occur in the minds and hearts of such people ... "

38. Why did Ivan Vasilyevich not serve anywhere? (based on the story by Leo Tolstoy "After the Ball")

The composition of Leo Tolstoy's work "After the Ball" is a "story within a story." The narration begins with the words of Ivan Vasilievich, whom the author briefly introduces in the introduction. We are talking about the moral values ​​of human life, about "that for personal improvement it is necessary first to change the conditions among which people live", "what is good, what is bad." Ivan Vasilievich was described as a "respected" man, he said "very sincerely and truthfully."

After such an established trust in the hero, we hear his story about one morning that changed his whole life.

The event takes place at a time when the narrator was young, rich, carefree, like his friends, with whom he studied at a provincial university, had fun at balls, feasts, skating with young ladies and did not think about serious issues of life.

At the ball, which he describes, Ivan Vasilyevich was especially happy: he was in love with Varenka, who reciprocated him, he was happy and "hugged the whole world with his love at that time." The ability for such feelings testifies to the enthusiastic, sincere, broad soul of a young man.

And for the first time in his life, this ardent young man is faced with another, terrible world, the existence of which he did not suspect. The scene he saw of the cruel punishment of a fugitive soldier, carried out under the supervision of Varenka's father, filled Ivan Vasilyevich's soul with unimaginable horror, almost physical anguish, reaching the point of nausea. The execution was terrible in itself, but the hero was also struck by the fact that the same dear colonel "with his ruddy face and white mustache and sideburns", whom Ivan Vasilyevich had just seen at the ball, was in charge of her. The narrator, meeting his eyes with Pyotr Vladislavovich, felt shame and awkwardness, which later turned into painful reflections about what he had seen: “Obviously, he (the colonel) knows something, which I don’t know ... If I knew what he knows, I would I also understood what I saw, and it would not torment me. "

"If this was done with such confidence and was recognized by all as necessary, then, therefore, they knew something that I did not know."

But Ivan Vasilyevich could not understand the need to mock a person, humiliate his dignity. That is why “I could not enter the military service, as I wanted before, and not only did not serve in the military, but did not serve anywhere and, as you see, was no good,” the hero concludes his story. Conscientiousness, a sense of responsibility for everything that happens in life, did not allow Ivan Vasilyevich to become a "cog" in the soulless state machine.

What, after all, was this man, who had matured after a memorable morning, been doing? The author does not give us a direct answer, but in the words of the listeners of Ivan Vasilyevich's story there is a recognition of his services to those people whom he managed to help in life: “Well, we know that, how you were no good,” said one of us. "Tell me better: no matter how many people are good for nothing, if you weren't there."

39. Autumn in the lyrics of Russian poets (based on the poems of M. Yu. Lermontov "Autumn" and F. I. Tyutchev "Autumn evening")

Nature home country- an inexhaustible source of inspiration for poets, musicians, artists. All of them recognized themselves as a part of nature, “breathed one life with nature,” as FI Tyutchev said. He also owns other wonderful lines:

Not what you think, nature:

Not a cast, not a soulless face -

She has a soul, she has freedom,

It has love, it has a language ...

It was Russian poetry that was able to penetrate into the soul of nature, to hear its language. In the poetic masterpieces of A. Pushkin, A. Fet, S. Nikitin, F. I. Tyutchev, M. Yu. Lermontov and many other authors, different seasons of the year are also reflected in generalized paintings (for example, “A sad time! Charm of the eyes! "), And in their beautiful moments (" O first lily of the valley! ").

This is not to say that some time of the year received more or less creative attention. It's just that in every state of nature, the poet can see and hear the consonance of his thoughts and feelings.

Here are two "autumn" poems by M. Yu. Lermontov and F. I. Tyutchev: "Autumn" and "Autumn Evening".

One of them, a poem by Lermontov, paints a kind of generalized picture of the autumn season, including the landscape, and the life of animals, and the mood of people. The defining words here are: "drooped", "gloomy", "does not like", "hide", "dull". It is they who create the sad emotional background of the poem, convey the feeling of some kind of loss. But Lermontov is a poet who sees the world as bright and full of movement. So in this small work there is a bright color scheme: a combination of yellow, green, silver, and verbs here make up almost a third of the independent parts of speech. In the first two lines, the use of three verbs in a row immediately creates the impression of an autumn wind, freshness.

The next picture is the opposite of the first one: it is static: "Only in the forest did the spruce drooped? They keep the gloomy greenery." But the technique of impersonation enlivens her too.

And here is a man - a plowman who has finished his hard work on the ground. Yes, he won't have to rest between the flowers for a long time, but this is the law of life, and there is no hopeless sadness in this picture either.

All living things meet autumn in their own way, therefore “the brave beast is in a hurry to hide somewhere”. The epithet "brave" is interesting, M. Yu. Lermontov conveys his admiration for the rational arrangement of the living world: after all, the animals will skilfully hide and survive the harsh winter.

In the last lines, the poet turns his gaze from the earth to the sky: there is a dull moon, fog. And yet the field is silvery even under this dim light.

Lermontov creates a picture of autumn, full of harmony, naturalness, life.

Also managed to catch the "sweet, mysterious charm" in the autumn evenings FI Tyutchev. This poet senses subtle transitions from late winter to early spring or from late summer to early autumn. Nature in his poems is alive, active, as if she keeps her own calendar.

The poem "Autumn Evening" captures the transition of a sad, orphaned nature to descending storms, the moment of fading is stopped, the mysterious soul of the living world is depicted, suffering from the departure of the variegated trees, foggy and quiet azure. Therefore, it is so natural at the end of the poem to parallel this state of nature with the world of rational beings, meekly and bashfully enduring inevitable suffering. Attention is drawn to the epithet "ominous", as Tyutchev sees the shine of autumn leaves. This word stands out among other figurative definitions of the poem: "quiet azure", "sadly lonely land", "meek smile". These epithets leave the impression of a dying life, reinforced by the words “damage, exhaustion”, and therefore the variegation of trees with crimson leaves against this background seems somehow defiantly unnatural; deceptive, and therefore ominous.

The poem was written by Tyutchev as if in one breath, because there is only one sentence in it, in which the human soul and the soul of nature merged into a single whole.

40. Spring in the lyrics of Russian poets (based on the poems of A. A. Fet "The first lily of the valley" and A. N. Maikov "The field is rippling with flowers")

A. N. Maikov and A. A. Fet can rightfully be called the singers of nature. In landscape lyrics, they reached brilliant artistic heights, true depth. Their poetry attracts with its sharpness of vision, subtlety of image, loving attention to the smallest details of the life of their native nature.

A.N. Maikov, moreover, was also a good artist, therefore he loved to poetically display the bright, sunny state of nature in his poems. And what could be brighter and sunnier than a singing spring or summer day? The earth that wakes up, coming into force after the cold weather pleases the eye with a riot of colors, “warms the heart” with hopes and greetings, makes you smile for no reason, as it is described in the poem by A. N. Maikov “After the fading with flowers”.

The poetic space here is devoid of images, it is all flooded with light, even the singing of larks seems to dissolve in the "glitter of half a day." And the poet places himself inside this picture, without violating its harmony, but on the contrary, conveying the state of happy unity of the human soul and the world around him in a moment of delight:

But, listening to them, eyes to the sky,

Smiling, I draw.

The sublime, solemn mood of the poem is given by the vocabulary: "wavering", "abysses", "gaze", "amuse", "heed".

These words of high stylistic coloring, as it were, carry the reader into the blue abyss, where the poet also directs his gaze.

The world is also harmonious, beautiful in the lyrics of A. A. Fet. But the poet does not strive to depict a holistic and complete image of nature. He is interested in “poetic events” in the life of nature: roses are sad and laughing, a bell in a flower garden tinkles subtly, a fluffy spring willow spreads out branches, and “the first lily of the valley” “asks for sunlight from under the snow”. Of course, the richest in such events can again be spring with its desire for life, joy. Therefore, there are so many exclamation sentences in the poem "The First Lily of the Valley". It is important for Fet not to photographically accurately depict natural phenomena, but to convey his impressions of them. And the lily of the valley in his poem becomes not just an image, but an image-experience:

Oh first lily of the valley! From under the snow

You ask for the sun's rays;

What a virgin bliss

In your fragrant purity!

Such verses are not addressed to the mind, but to the feelings of a person with his penchant for unexpected connections and associations:

So the maiden sighs for the first time

About what - it is not clear to herself, -

And a timid sigh smells sweet

Excessive young life.

Fet has "air, light and thoughts at the same time": his poetic feeling penetrates beyond the boundaries of ordinary things and phenomena into the transcendent mystery of the universe:

As the first ray of spring is bright!

What dreams descend in him!

This explains the poet's violation of the traditional convention of the metaphorical language, all boundaries between man and nature have been eliminated: the poem speaks at once about both the lily of the valley and the maiden.

Another feature of Fet's lyrics is musicality, which manifests itself in the sounding of objects and phenomena of the surrounding world. There is also a song beginning in the poem "The First Lily of the Valley". It is created, firstly, by lexical repetitions: "first", "spring - spring", "virgin - virgin", "sighs - sigh", as well as anaphores: "how", "what", synonyms: "fragrant - fragrant ".

Reading such verses as "The field is rippling with flowers", "The first lily of the valley" is a real pleasure, allowing you to plunge into the wonderful world of poetry and spring.

41. The inner world of the hero in the story of A. Chekhov "About love"

AP Chekhov's story "About Love" is on a par with two of his other stories "The Man in a Case" and "Gooseberry", which were named "Little Trilogy". In these works, the writer judges people with truncated horizons in life, indifferent to the wealth and beauty of the world of God, who have limited themselves to a circle of small, philistine interests.

In the story "About Love" we read about how a living, sincere, mysterious feeling is destroyed by the very loving hearts committed to the "case" existence. The story is told on behalf of Pavel Konstantinovich Alekhin, a Russian intellectual, a decent, intelligent person who lives alone and joylessly. The story of his love for the married lady Anna Alekseevna Luganovich was told to his friends in confirmation of his thought that we, Russian people, “when we love, we never stop asking ourselves questions: is it honest or dishonest, clever or stupid, what will this love lead to, and etc. Whether it is good or not, I do not know, but what it interferes, does not satisfy, annoys - I know that. " But this load of moral doubts prevented the hero not only in love, at the beginning of his story he says a few words about himself that reveal his inner world. Alekhine by his inclinations is an armchair scientist, forced to lead the everyday life of a successful landowner, which takes away all his free time, and at the same time he experienced boredom and disgust. His love for the young woman made him even more unhappy. She only confirmed the hero's impossibility to break with a joyless existence: “Where could I take her? It would be another matter if I had a beautiful, interesting life, if I fought for the liberation of my homeland or were a famous scientist, artist, artist, otherwise, from one ordinary, everyday situation, I would have to carry her into another, the same or even more everyday ". The hero understands that in the life to which he has doomed himself, there is no place for the great mystery of love. The inertia of Alekhine and Anna Alekseevna's existence held their souls captive and eventually destroyed their feelings. And only when separation came, with a burning pain in his heart, the hero realized “how petty and deceptive it was” everything that prevented them from loving. But the epiphany is a little late and after the words spent, the turn of righteous deeds does not come.

The story is structured like a monologue of the protagonist, but there is an introduction to it and an ending that allows the author to give his own assessment of this story. Attention is drawn to the landscape sketch in the frame of the story: Alekhine begins his story in a bleak rainy weather, when only a gray sky was visible through the windows. This capacious Chekhovian detail as a symbol of that gray, dull life that the hero leads, and his inner world. And here is the end of the story: “While Alekhine was talking, the rain stopped and the sun came out”, the heroes admire the beautiful view, and along with sadness from what they heard, purification comes to their souls, which allows A.P. Chekhov to hope that healthy aspirations are in their thoughts and the feelings of the Russian people will nevertheless prove to be stronger than a bloodless and boring existence.

42 The problem of the positive hero in the story of M. Gorky "Chelkash"

In the story of Maxim Gorky "Chelkash" two main characters appear - Grishka Chelkash - an old poisoned sea wolf, an inveterate drunkard and a clever thief, and Gavrila - a simple country boy, a poor man, like Chelkash.

Initially, the image of Chelkash was perceived by me as negative: a drunkard, a thief, all tattered, bones covered with brown skin, a cold, predatory gaze, a gait like the flight of a bird of prey. This description causes some disgust, dislike. But Gavrila, on the contrary, was broad-shouldered, stocky, tanned, with big blue eyes, his gaze is trusting and good-natured, there was simplicity in him, perhaps even naivety, which gave zest to his image. Gorky brings his two heroes face to face, so they get to know each other and go to a common cause - theft. (For the fact that Grishka drew Gavrila into his affairs, Chelkash can be safely called a negative hero). But in the course of their common craft, a negative opinion about Gavril develops: he is cowardly, showed weakness: he sobbed, cried, and this causes hostility to the guy. There is, as it were, a change of roles: Chelkash turns from a negative hero into a positive one, and Gavrila vice versa. Here you can see the manifestations of true human feelings in Chelkash: he was offended to lie, the boy. He, a thief, passionately loved the sea, this boundless, free, powerful element, this feeling cleared him of everyday problems, at sea he became better, he thought a lot, philosophized. Gavrila was deprived of all this, he loved the land, peasant life. However, Chelkash is also connected with the earth, connected after many generations, connected with memories of childhood. Gavrila gave birth to pity in the old sea wolf, he pitied him and was angry with himself for it.

The main problem of the positive hero is that he is too kind, not everyone would give to a completely stranger all the money, even if earned by dishonest labor, because of which he risked his life and freedom. Moreover, Gavrila was greatly hurt by the pride (and Chelkash was very proud) of Chelkash, he called him an unnecessary person, insignificant, he (Gavrila) does not appreciate and does not respect the person who did him good. In addition, he is greedy, almost killed a man for money, he is ready to sell his soul for an extra penny. Chelkash, in spite of his riotous lifestyle, despite the fact that he is a thief and a reveler, divorced from everything that is dear, has not lost his sense of reason, a sense of conscience. He is truly glad that he did not become and will never become greedy, low, not remembering himself because of money, ready to suffocate because of a penny.

The main ideal of Chelkash's life has always been and will always be freedom, wide, boundless, powerful, like the sea element.

43. Landscape in M. Gorky's story "Chelkash"

Poets and writers of different times and peoples used the description of nature to reveal the inner world of the hero, his character, mood. The landscape is especially important at the climax of the work, when the conflict, the problem of the hero, his inner contradiction are described.

Maxim Gorky did not do without this in the story "Chelkash". The story, in fact, begins with artistic sketches. The writer uses dark colors (“the blue southern sky darkened by dust is dull”, “the sun looks through a gray veil”, “waves chained in granite”, “foamed, polluted with various rubbish”), this already sets in a certain mood, makes you think, to be on the alert, to be on the alert.

These pictures are complemented by sounds: “ringing of anchor chains”, “roar of carriages”, “metallic scream of iron sheets”. All these details seem to warn us of an impending conflict. And against the background of this, Grishka Chelkash appears - an old poisoned wolf, a drunkard and a brave thief. The description of his appearance is fully consistent with the description of the pictures of the port; the author uses gloomy colors - "disheveled black with gray hair and a drunken, sharp, predatory face", "cold gray eyes", this causes some disdain and disgust for the hero. Against this background, we see a young, stocky guy - Gavrila. An acquaintance is struck between them, Chelkash invites this guy to take part in the case - in theft, but Gavrila does not yet know what this case is.

Night, silence, clouds floating across the sky, calm sea, sleeping in a healthy sound sleep of "a worker who was very tired during the day." Both heroes are also calm, but behind this calmness lies inner tension. As this tension grows from the internal to the external, Gorky shows how the sea awakens, how the waves rustle, and this noise is terrible. This fear is born in the soul of Gavrila. Chelkash left Gavrila alone, and he himself went for the "booty". And again everything was quiet, it was cold, dark, ominous, and most importantly, everything was silent. And from this deaf silence it became creepy. Gavrila felt crushed by this silence, and although he despised Chelkash, he was still glad of his return. Meanwhile, the night became darker and more silent, and this gave confidence and strength to complete a successful "operation", the sea became calm, and peace of mind returned to both heroes. Nature, as it were, helped the heroes to overcome all obstacles and successfully reach the coast. Landscape sketches reflect the inner state of the heroes: everything is calm, and the sea is calm ...

In the last scene - the scene of the conflict between Chelkash and Gavrila - we see a picture of rain, at first it comes in small drops, and then everything is larger and larger. This corresponds exactly to the brewing conflict: at first it was based simply on begging for money, and then on a fight. Trickles of rain weaved a whole net of threads of water, in my opinion, M. Gorky wanted to show that Gavrila got entangled in the net of his own thoughts: he wanted to get money, and not just his share, but all the "earned" money, and secondly, he conceived killing a person if he does not voluntarily give the money, and, thirdly, for all this he wanted to be forgiven so that his conscience was clear.

And the rain kept pouring down, its drops and splashes of water washed away the traces of the drama, a small conflict that flared up between the old wolf and the young man.

Undoubtedly, the role of the landscape is great in the work. From these descriptions, it is easier to understand the character of the characters, what they have in mind, an idea of ​​what will happen next is formed, thanks to them, the approaching conflict, the peak and resolution of the conflict are felt.

44. Chelkash and Gavrila (based on the story of M. Gorky "Chelkash")

Gorky's early work (90s of the XIX century) was created under the sign of “collecting” the truly human: “I got to know people very early and, from my youth, began to invent a Man in order to satisfy my thirst for beauty. Wise people ... convinced me that I had a bad idea of ​​consolation for myself. Then I went to the people again and - this is so understandable! - again from them I return to the Man, ”Gorky wrote at this time.

Stories from the 1890s can be divided into two groups: some of them are based on fiction - the author uses legends or composes them himself; others draw characters and scenes from the real life of tramps.

The story "Chelkash" is based on a real case. Later, the writer recalled the tramp, which served as the prototype for Chelkash. Gorky met this man in a hospital in the city of Nikolaev (Chersonesos). “I was amazed at the good-natured mockery of the Odessa tramp, who told me the case I described in the story“ Chelkash ”. I well remember his smile, which showed his magnificent white teeth - the smile with which he concluded the story of the treacherous act of the guy he hired to work ... "

There are two main characters in the story: Chelkash and Gavrila. Both tramps, poor, both village peasants, peasant origin, accustomed to work. Chelkash met this guy by chance, on the street. Chelkash recognized him as "his own": Gavrila was "in the same pants, in bast shoes and in a torn red cap." He was of a heavy build. Gorky several times draws our attention to the big blue eyes, looking trustingly and good-naturedly. With psychological precision, the guy defined Chelkash's "profession" - "we throw nets along dry shores and along barns, along lashes."

Gorky opposes Chelkash Gavril. Chelkash at first "despised", and then, "hated" the guy for his youth, "clean blue eyes", a healthy tanned face, short strong hands, because he has his own house in the village, that he wants to start a family, but most importantly It seems to me that this is that Gavrila has not yet learned the life that this seasoned man leads, because he dares to love freedom, which does not know its value, and which he does not need.

Chelkash boiled and shuddered from the insult inflicted by the guy, from the fact that he dared to object to an adult man.

Gavrila was very afraid to go fishing, because this was his first business of this kind. Chelkash was calm as always, he was amused by the guy's fear, and he enjoyed it and reveled in what a formidable man he, Chelkash, is.

Chelkash rowed slowly and evenly, Gavrila quickly and nervously. This speaks of the perseverance of character. Gavrila is a beginner, that's why the first campaign is so hard for him, for Chelkash this is another campaign, a common thing. Here the negative side of the man is manifested: he does not show patience and does not understand the guy, yells at him and intimidates. However, on the way back, a conversation ensued, during which Gavrila asked the man: "What are you now without land?" These words made Chelkash think, pictures of childhood, the past, the life that was before the thieves' life surfaced. The conversation fell silent, but even from Gavrila's silence, the village breathed on Chelkash. These memories made me feel lonely, torn out, thrown out of that life.

The climax of the story is a fight over money. Greed attacked Gavrila, he became scary, an incomprehensible excitement moved him. Greed took possession of the young man, who began to demand all the money. Chelkash perfectly understood the state of his ward, went to meet him - he gave the money.

But Gavrila acted low, cruelly, humiliated Chelkash, saying that he was an unnecessary person and that no one would have missed him if Gavrila had killed him. This, naturally, hit Chelkash's self-esteem, anyone in his place would have done the same.

Chelkash, undoubtedly, is a positive hero, in contrast to him, Gorky puts Gavrila.

Chelkash, despite the fact that he leads a riotous lifestyle, steals, would never have acted as low as this guy. It seems to me that the main things for Chelkash are life, freedom, and he would not tell anyone that his life is worthless. Unlike a young man, he knows the joys of life and, most importantly, life and moral values.

I think there is no such person who would not read the famous work of Ivan Turgenev "Asya". Through this story, I will try to express my personal attitude towards the main character of this work. The structure of my story is as follows:

• features of the origin of the main character of the story;
• personal relationship to Asya;
• conclusions.

Features of the origin of the main character of the story

I think that Asya's background greatly influenced the formation of her character. Asya was the illegitimate daughter of a landowner and a servant. Her mother tried to raise her in strict conditions, but after Tatyana died, her father took up raising Asya, in connection with which the girl's soul learned proud and distrustful feelings. She was controversial and playful towards all people. As for the girl's attitude to everything, at first glance, she looked at him with interest, but in fact she did not delve into anything and did not peer. However, she had a strange addiction - she made acquaintances with those who were lower in class than herself.

Personal relationship to Asya

I believe that Asya had a wild, original disposition, she was smart, emotional and impetuous. She was extraordinary, did not want to be like others. Even Mr. NN noticed her artistry, that she was plastic, impetuous, incredibly emotional and wanted to live vividly and memorably. Asya was essentially shy from birth, but on purpose she behaved loudly and sometimes not quite befitting. She was not afraid of anything and in the name of love could move mountains. Asya had the honor and never complained about anything. She wanted to be remembered after her death. They remembered her and her actions. True, Asya was ashamed of her not entirely decent origin.

Personal conclusions

Thus, in conclusion, I would like to say that Asya was madly naughty and impudent. She was not particularly interested in what others would say about her. Sometimes she didn’t behave quite naturally. She was sincere, honest and open. Asya was a truly original, unique girl. We still need to look for such people.

Composition

First of all, it is worth noting that I. Turgenev's story "Asya" tells how the acquaintance of the protagonist of Mr. N. N. with the Gagins develops into a love story, which for the hero turned out to be a source of both sweet romantic longing and bitter torments , then, over the years, they lost their sharpness, but doomed the hero to the fate of a bob.
An interesting fact is that the author refused the hero's name, and there is no portrait of him either. There are different explanations for this, but one thing is certain: I.S.Turgenev shifts the emphasis from the external to the internal, immersing us in the emotional experiences of the hero. From the very beginning of the story, the writer inspires sympathy among the readers and the trust in the hero-narrator. We learn that this is a cheerful, healthy, rich young man who loves to travel, observe life, people. He recently experienced a love failure, but with the help of subtle irony, we understand that love was not true love, but only entertainment.
And now a meeting with Gagin, in which he felt a kindred spirit, the proximity of interests to music, painting, literature. Communication with him and his sister Asya immediately set the hero in a sublime romantic mood.
It is worth noting that on the second day of their acquaintance, he carefully observes Asya, who both attracts to herself and causes him a feeling of annoyance and even hostility with inexplicable, free actions. The hero is not aware of what is happening to him. He feels some kind of vague uneasiness that grows into anxiety incomprehensible to him; that jealous suspicion that the Gagins are not relatives.

So, two weeks of daily meetings have passed. NN was more and more distressed by jealous suspicions, and although he did not fully realize his love for Asya, she gradually took possession of his heart. During this period, he is overwhelmed by persistent curiosity, some annoyance at the mysterious, inexplicable behavior of the girl, the desire to understand her inner world.
But the conversation between Asya and Ganin, overheard in the gazebo, makes N.N. finally understand that he has already been captured by a deep and disturbing feeling of love. It is from him that he leaves for the mountains, and when he returns, he goes to the Ganins, after reading a note from his brother Asya. Having learned the truth about these people, he instantly regains his lost balance and thus defines his emotional state: “I felt some kind of sweetness - it was sweetness in my heart: as if they had poured honey there on the quiet ...” A landscape sketch in Chapter 10 helps to understand the psychological state of the hero in this momentous day, becoming a "landscape" of the soul. It was at this moment of merging with nature in the hero's inner world that a new turn occurs: what was vague, alarming, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asi. But the hero prefers to thoughtlessly surrender to the oncoming impressions: "I am not only about the future, I did not think about tomorrow, I felt very good." This testifies to the fact that at that moment N.N. was ready only to enjoy romantic contemplation, he did not feel in himself that he was removing prudence and caution, while Asya had already "grown wings", a deep feeling came to her and irresistible. Therefore, in the scene of the meeting, NN seems to be trying to hide behind reproaches and loud exclamations his unpreparedness for a reciprocal feeling, an inability to surrender to love, which so slowly matures in his contemplative nature.
In my opinion, after parting with Asya after an unsuccessful explanation, NN still does not know what awaits him in the future, "the loneliness of a familyless mare", he hopes for "tomorrow's happiness", not knowing that "happiness has no tomorrow ... he has a present - and that is not a day, but a moment. " NN's love for Asya, obeying the whimsical game of chance or the fatal predetermination of fate, will flare up later, when nothing can be fixed. The hero will be punished for not recognizing love, for doubting it. "And happiness was so close, so possible ..."

Other compositions on this work

It was based on the features inherent in the biography of the writer. The characterization of Asya in the story "Asya" is impossible without a brief excursion into life, or rather the love of Ivan Sergeevich.

Eternal friend of Pauline Viardot

The relationship between Polina Viardot and Ivan Sergeevich lasted 40 long years. It was a love story that settled only in the heart of one man, Turgenev, and the woman he passionately revered did not reciprocate. She was married. And for all four decades, Ivan Sergeevich came to their house as an eternal and forever faithful friend of the family. Having settled "on the edge of someone else's nest", the writer tried to build his own, but until the end of his life he loved Pauline Viardot. Viardot became a woman-homeowner, a killer of the happiness of girls who recklessly fell in love with Ivan Sergeevich.

It is worth saying that the tragic relationship with Viardot was not new to him. Still young Ivan at the age of eighteen fell in love with his daughter Katenka. A cute angelic creature, what a girl seemed at first glance, in fact, did not turn out to be. She had lengthy relationships with the head village ladies' man. By an evil irony, the girl's heart was conquered by Sergei Nikolaevich Turgenev, the writer's father.

However, not only the writer was heartbroken, he himself repeatedly rejected the women who loved him. After all, until the end of his days, he adored Pauline Viardot.

Characteristics of Asya in the story "Asya". Turgenev girl's type

Many people know that Turgenev girls exist, but few remember what she is, the heroine from the writer's stories.

The portrait characteristics of Asya, found on the pages of the story, are as follows.

As can be seen from the above lines, Asya had an atypical beauty: a boy's appearance combined short large eyes, bordered by long eyelashes, and an unusually slender figure.

A brief description of Asya and her external image will be incomplete if not to mention that, most likely, she reflects Turgenev's disappointment in the circle (the consequences for Ekaterina Shakhovskaya).

It is here, on the pages of the story "Asya", that not only Turgenev's girl is born, but Turgenev's feeling of love. Love is compared to revolution.

Love, like revolution, tests heroes and their feelings for endurance and vitality.

Asi's origin and character

The background of the heroine's life made a significant contribution to the character of the girl. This is the illegitimate daughter of a landowner and a maid. Her mother tried to educate her in severity. However, after the death of Tatiana, Asya was taken to his father. Because of him, feelings such as pride and distrust arose in the girl's soul.

The characterization of Asya from Turgenev's story introduces initial inconsistencies in her image. She is controversial and playful in her relationships with all people. If you take her interest in everything around her, then you can understand that the girl shows this a little unnatural. Since she looks at everything with curiosity, however, as a matter of fact, she does not carefully delve into anything and does not peer into anything.

Despite her inherent pride, she has a strange addiction: to make acquaintances with people who are class below her.

A moment of spiritual awakening

The characterization of Asya from Turgenev's story will be incomplete if you do not consider the question of the spiritual awakening of the main characters: Asya and Mr. N.N.

The hero and author of the story, meeting Asya in a small German town, feels that his soul trembled. We can say that he spiritually revived, opened to feelings. Asya removes the pink veil through which he looked at himself and his life. N.N. realizes how false his existence was before he met Asya: the time spent on travel now seems to him an impermissible luxury.

The reborn worldview of Mr. N.N. looks forward to every meeting with awe. However, faced with a choice: love and responsibility or loneliness, he comes to the conclusion that it is absurd to marry someone whose temper he will never conquer.

Love also helps Asya's character open up. She begins to be aware of herself as a person. Now she cannot do with the usual reading of books, from which she drew on the knowledge about "true" love. Asya opens up to feelings and hopes. For the first time in her life, she stopped doubting and opened herself to vivid feelings.

What is she, Asya, in the eyes of Mr. N.N.?

The characterization of Asya in the story "Asya" is not made by Ivan Sergeevich himself, he assigns this task to his hero, Mr. N.N.

Thanks to this, we can notice the transformation of the attitude of the hero to his beloved: from hostility to love and misunderstanding.

Mr. N.N. noted the spiritual impulse of Asya, who wants to show her "high" origin:

All her actions at first seem to him "childish antics". But soon he saw her in the guise of a frightened but beautiful bird:

The relationship between Asya and Mr. N.N.

The verbal characterization of Asya in the story "Asya" predicts a tragic outcome of the emerging relationship between the heroine and Mr. N.N.

By nature, Asya is a contradictory nature from its very roots. One has only to remember the girl's attitude to her mother and her origin:

The girl loved to be paid attention to, and at the same time she was afraid of this, since she was rather timid and bashful.

Asya dreams of a hero who will become for her the embodiment of happiness, love and thought. A hero who can resignedly oppose himself to "human vulgarity" in order to save love.

Asya saw her hero in Mr. N.N.

The narrator fell in love with the girl from the first moment they met. She wanted to intrigue him and at the same time show that she is a well-born young lady, and not some kind of daughter of the maid Tatiana. This behavior, unusual for her, influenced the first impression of Mr. N.N.

Then she falls in love with N.N. and begins to expect from him not just action, but a response. The answer to the question that worries her: "What to do?" The heroine dreams of a feat, but she never gets it from her beloved.

But why? The answer is simple: Mr. N.N. not endowed with the spiritual wealth inherent in Asya. His image is rather meager and a little dull, although it is not devoid of a note of edification. This is how he appears before us in the opinion of Chernyshevsky. Turgenev himself sees him as a man with a trembling, tormented soul.

"Asya", characteristic of N.N.

Souls, heartfelt impulses, reflections on the meaning of life were unfamiliar to the hero of the story, N.N., on whose behalf the narration is being conducted. He led a dissolute life in which he did what he wanted, and thought only about his own desires, neglecting the opinions of others.

He did not care about the sense of morality, duty, responsibility. He never thought about the consequences of his actions, while shifting the most important decisions onto the shoulders of others.

However, N.N. - not a complete embodiment of the bad hero of the story. Despite everything, he has not lost the ability to understand and separate good from evil. He is quite curious and inquisitive. The goal of his journey is not a desire to know the world, but a dream to know many new people and faces. N.N. quite proud, but he is not alien to the feeling of rejected love: earlier he was in love with a widow who rejected him. Despite this, he remains a kind and pleasant enough young man of 25 years.

Mr. N.N. realizes that Asya is a weird girl, therefore she is afraid to face unexpected turns of her character in the future. In addition, he sees marriage as an overwhelming burden, which is based on responsibility for someone else's fate and life.

Fearing change and changeable, but full of life, N.N. refuses possible mutual happiness, placing on Asya's shoulders the responsibility for deciding the outcome of their relationship. Having thus committed a betrayal, he predicts a lonely existence for himself in advance. Having betrayed Asya, he rejected life, love, future. However, Ivan Sergeevich is in no hurry to reproach him. Since he himself paid for the mistake ...

Ivan Turgenev not only made a significant contribution to the development of Russian literature within the framework of the existing directions, but also discovered new distinctive features of the national culture. In particular, he created the image of a Turgenev young lady - he revealed the unique character of a Russian girl on the pages of his books. To get acquainted with this person, it is enough to read the story "Asya", where a woman's portrait acquired unique features.

The writer was busy writing this work for several months (from July to November 1857). He wrote hard and slowly, because illness and fatigue were already making themselves felt. Who is the prototype of Asya is not known exactly. Among the versions, the prevailing point of view is that the author described his illegitimate daughter. Also, the image could reflect the fate of his paternal sister (her mother was a peasant woman). Turgenev, from these examples, knew well how a teenager felt in such a situation, and reflected his observations in the story, showing a very delicate social conflict, of which he himself was to blame.

The work "Asya" was completed in 1857 and published in "Sovremennik". The story of the story, told by the author himself, is as follows: once Turgenev in a German town saw an elderly woman who was looking out of a window on the first floor, and the head of a young girl on the floor above. Then he decided to imagine what their fate might be, and embodied these fantasies in the form of a book.

Why is the story called that?

The work got its name in honor of the main character, whose love story is in the center of the author's attention. His main priority was to reveal the ideal female image, which was named "Turgenev's young lady". To see and appreciate a woman, according to the writer, is possible only through the prism of the feelings that she is experiencing. Only in him is its mysterious and incomprehensible nature fully revealed. Therefore, his Asya experiences the shock of her first love and experiences it with the dignity inherent in an adult and mature lady, and not that naive child that she was before meeting N.N.

This reincarnation is shown by Turgenev. At the end of the book, we say goodbye to Asya the child and meet Anna Gagina - a sincere, strong woman who knows her worth, who does not agree to compromises: when N.N. he was afraid to surrender to the feeling completely and immediately recognize it, she, overcoming the pain, left him forever. But in memory of the bright time of childhood, when Anna was still Asya, the writer calls his work this diminutive name.

Genre: Novel or Story?

Of course, Asya is a story. The story is never divided into chapters, and its volume is much less. The segment from the lives of the characters depicted in the book is smaller than in the novel, but longer than in the smallest form of prose. Turgenev also adhered to this opinion about the genre nature of his creation.

Traditionally, there are more characters and events in the story than in the story. In addition, the subject of the image in it becomes precisely the sequence of episodes in which causal relationships are revealed, which lead the reader to realize the meaning of the final of the work. This also happens in the book "Asya": the characters get to know each other, their communication leads to mutual interest, N.N. learns about the origin of Anna, she confesses her love for him, he is afraid to take her feelings seriously, and in the end all this leads to a breakup. The writer first intrigues us, for example, shows the strange behavior of the heroine, and then explains it through the story of her birth.

What is the work about?

The main character is a young man, on whose behalf the story is told. These are the memories of a mature man about the events of his youth. In "Asa" a middle-aged socialite N.N. recalls a story that happened to him when he was 25 years old. The beginning of his story, where he meets his brother and sister Gagins, is an exposition of the story. Place and time of action - "a small German town Z. not far from the Rhine (river)." The writer is referring to the city of Sinzig in the province of Germany. Turgenev himself traveled there in 1857, at the same time he finished the book. The narrator writes in the past tense, stating that the events described took place 20 years ago. Accordingly, they occurred in June 1837 (the month is reported by N.N. himself in the first chapter).

What Turgenev wrote about in "Asa" is familiar to the reader since the time of reading "Eugene Onegin". Asya Gagina is the same young Tatyana, who first fell in love, but did not find reciprocity. It was the poem "Eugene Onegin" that N.N. for the Gagins. Only the heroine in the story does not look like Tatiana. She is very changeable and fickle: now she laughs all day long, now she walks gloomier than a cloud. The reason for this state of mind lies in the difficult story of the girl: she is Gagin's illegitimate sister. In high society, she feels herself a stranger, as if unworthy of the honor that has been shown to her. Thoughts about her future position constantly weigh on her, so Anna has a difficult character. But, in the end, she, like Tatyana from Eugene Onegin, decides to confess her love to N.N. a laughing stock. Asya, hearing a reproach instead of a confession, runs away. And N.N. realizes how dear she is to him, and decides the next day to ask for her hand in marriage. But it is already too late, since the next morning he learns that the Gagins have left, leaving him a note:

Goodbye, we will not see you again. I'm not leaving because of pride - no, I can't do otherwise. Yesterday, when I cried in front of you, if you had told me one word, only one word, I would have stayed. You didn't say it. Apparently, it's better this way ... Goodbye forever!

The main characters and their characteristics

The reader's attention is attracted, first of all, by the main characters of the work. It is they who embody the author's intention and are the supporting images on which the narrative is built.

1. Asya (Anna Gagina)- a typical "Turgenev young lady": she is a wild, but sensitive girl who is capable of true love, but does not accept cowardice and weakness of character. This is how her brother described her: “Self-love developed in her strongly, mistrust too; bad habits took root, simplicity disappeared. She wanted (she herself confessed this to me once) to make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and was proud of her. " She grew up in nature on an estate, studied at a boarding house. At first she was raised by her mother, a maid in her father's house. After her death, the girl was taken to his master. Then the upbringing was continued by his legitimate son, the brother of the main character. Anna is a modest, naive, well-educated person. She has not yet matured, so she plays the fool and plays pranks, not taking life seriously. However, her character changed when she fell in love with N.N .: he became fickle and strange, the girl was sometimes too lively, sometimes sad. Changing images, she unconsciously tried to attract the attention of the gentleman, but her intentions were absolutely sincere. She even fell ill with a fever from a feeling overwhelming her heart. From her further actions and words, we can conclude that she is a strong and strong-willed woman, capable of sacrificing for the sake of honor. Her description was presented by Turgenev himself: “The girl, whom he called his sister, at first glance seemed to me very pretty. There was something of her own, special, in the warehouse of her swarthy, round face, with a small thin nose, almost childish cheeks and black, light eyes. She was gracefully built, but as if not yet fully developed. " The somewhat idealized image of Asya was repeated in the faces of other famous heroines of the writer.
2. N.N.- a storyteller who, 20 years after the event described, takes up a pen to relieve the soul. He can’t forget about his lost love. He appears before us as a selfish and idle rich young man who travels with nothing to do. He is lonely and afraid of his loneliness, because, by his own admission, he loves to be in a crowd and look at people. At the same time, he does not want to get acquainted with the Russians, apparently, he is afraid to disturb his peace. He ironically remarks that "he considered it his duty to indulge in sadness and loneliness for a while." This desire to show himself even in front of himself reveals the weaknesses of nature in him: he is insincere, fake, superficial, seeking an excuse for his idleness in fictitious and contrived suffering. One cannot fail to note his impressionability: thoughts about his homeland angered him, meeting with Anna made him feel happy. The main character is educated and noble, he lives "as he wants", and he is characterized by inconstancy. He understands art, loves nature, but cannot find application for his knowledge and feelings. He likes to analyze people with his mind, but he does not feel them with his heart, so he could not understand Asya's behavior for so long. Love for her revealed not the best qualities in him: cowardice, indecision, selfishness.
3. Gagin- Anna's older brother, who takes care of her. This is how the author writes about him: “It was just a Russian soul, truthful, honest, simple, but, unfortunately, a little sluggish, without tenacity and inner heat. Youth did not boil in him like a key; it glowed with a quiet light. He was very sweet and smart, but I could not imagine what would become of him as soon as he matured. " The hero is very kind and helpful. He honored and respected the family, because he fulfilled his father's last will honestly, and he loved his sister like his own. Anna is very dear to him, so he sacrifices friendship for the sake of her peace of mind and leaves N.N., taking the heroine away. In general, he willingly sacrifices his own interests for the sake of others, because in order to raise his sister, he retires and leaves his homeland. Other characters in his description always look positive, he finds an excuse for all of them: both the secretive father and the compliant maid, the headstrong Asya.

Minor characters are only mentioned in passing by the narrator. This is a young widow on the waters who rejected the narrator, Gagin's father (a kind, gentle, but unhappy person), his brother, who arranged for his nephew to serve in Petersburg, Asya's mother (Tatyana Vasilievna is a proud and unapproachable woman), Yakov (butler of Gagin the elder) ... The description of the heroes given by the author allows even deeper understanding of the story "Asya" and the realities of the era that became its basis.

Theme

1. Love theme. Ivan Sergeevich Turgenev wrote many stories about this. For him, a feeling is a test of the heroes' souls: “No, love is one of those passions that breaks our“ I ”, makes us, as it were, forget about ourselves and our interests," said the writer. Only a real person can truly love. However, the tragedy is that many people cannot cope with this test, and it takes two for love. When one has failed to truly love, the other is undeservedly left alone. So it happened in this book: N.N. could not pass the test of love, but although Anna coped with it, she still could not stand the resentment of neglect and left forever.
2. The topic of the superfluous person in the story "Asya" also occupies an important place. The main character cannot find a place for himself in the world. His idle and aimless life abroad is proof of this. He wanders about in search of what is unknown, because he cannot apply his skills and knowledge in the present case. His inconsistency is also manifested in love, because he is afraid of the girl's direct recognition, he is afraid of the strength of her feelings, so he cannot realize in time how dear she is to him.
3. The theme of the family is also raised by the author. Gagin raised Asya as his sister, although he understood the complexity of her situation. Perhaps it was this circumstance that pushed him on a journey where the girl could be distracted and hide from sidelong glances. Turgenev emphasizes the superiority of family values ​​over class prejudices, urging his compatriots to care more about family ties than about the purity of blood.
4. Nostalgia theme. The whole story is imbued with the nostalgic mood of the protagonist, who lives on the memories of the time when he was young and in love.

Problematic

• The problem of moral choice. The hero does not know how to do the right thing: is it worth taking responsibility for such a young and offended creature? Is he ready to say goodbye to single life and tie himself to one single woman? In addition, she had already deprived him of his choice by telling her brother about everything. He was annoyed that the girl took all the initiative, and therefore accused her of being too frank with Gagin. N.N. was bewildered, and even not experienced enough to unravel the subtle nature of his beloved, so it is not surprising that his choice was wrong.
• Feeling and duty problems. Often these principles are in opposition to each other. Asya loves N.N., but after his hesitations and reproaches, she realizes that he is not sure of his feelings. Debt of honor commands her to leave and not meet with him again, although her heart rebelles and asks to give her beloved one more chance. However, her brother is adamant in matters of honor, so the Gagins leave N.N.
• The problem of extramarital affairs. In the time of Turgenev, almost all nobles had illegitimate children, and this was not considered abnormal. But the writer, although he himself became the father of such a child, draws attention to how bad it is for children whose origin is outside the law. They suffer without guilt for the sins of their parents, suffer from gossip and cannot arrange their future. For example, the author depicts Asya studying at a boarding school, where all the girls treated her with disdain because of her history.
• The problem of adolescence. Asya at the time of the described events is only 17 years old, she has not yet formed as a person, therefore her behavior is so unpredictable and eccentric. It is very difficult for my brother to deal with her, because he does not yet have experience in the parental field. And N.N. could not understand her contradictory and sentimental nature. This is the reason for the tragedy of their relationship.
• The problem of cowardice. N.N. afraid of serious feelings, so she does not say the very cherished word that Asya was waiting for.

Main thought

The story of the main character is a tragedy of naive first feelings, when a young dreamy person for the first time encounters the cruel realities of life. Conclusions from this collision are the main idea of ​​the story "Asya". The girl went through a test of love, but many of her illusions were shattered in it. In indecision N.N. She read the sentence to herself, which her brother had mentioned earlier in a conversation with a friend: in such a situation she cannot count on a good game. Few will agree to marry her, no matter how beautiful or fun she is. She had seen before that people despise her for her unequal origin, but now the person she loves hesitates and does not dare to bind himself with a word. Anna interpreted this as cowardice, and her dreams crumbled to dust. She learned to be picky about her boyfriends and not trust them with her heart's secrets.

Love in this case opens the adult world to the heroine, literally pulling her out of her blissful childhood. Happiness would not be a lesson for her, but a continuation of a girl's dream, it would not reveal this contradictory character, and Asya's portrait in the gallery of female types of Russian literature was greatly impoverished from the happy ending. In the tragedy, however, she gained the necessary experience and became richer spiritually. As you can see, the meaning of Turgenev's story is also to show how the test of love affects people: some show dignity and fortitude, others - cowardice, tactlessness and indecision.

This story from the mouth of a mature man is so instructive that it leaves no doubt that the hero recalls this episode of his life in order to edify himself and the listener. Now, after so many years, he realizes that he himself has missed the love of his life, that he himself has destroyed this sublime and sincere relationship. The narrator urges the reader to be more attentive and more decisive than himself, not to let his guiding star go away. Thus, the main idea of ​​the work "Asya" is to show how fragile and fleeting happiness is, if it is not recognized in time, and how merciless is love that does not give a second try.

What does the story teach?

Turgenev, showing the idle and empty way of life of his hero, says that the carelessness and purposelessness of existence will make a person unhappy. N.N. in old age, he bitterly complains about himself in his youth, regretting the loss of Asya and the very opportunity to change his fate: "It did not even occur to me then that a man is not a plant and he cannot flourish for a long time." He realizes with bitterness that this "bloom" has not borne fruit. Thus, morality in the story "Asya" reveals to us the true meaning of being - you need to live for the sake of a goal, for the sake of loved ones, for the sake of creativity and creation, no matter how it is expressed, and not for the sake of only oneself. After all, it was egoism and the fear of losing the opportunity to “bloom” that prevented N.N. utter the very cherished word that Anna was waiting for.

Another conclusion that Ivan Sergeevich Turgenev makes in "Asa" is the assertion that one should not be afraid of one's feelings. The heroine gave herself to them completely, burned with her first love, but she learned a lot about life and about the person to whom she wanted to devote her. Now she will be more attentive to people, learn to understand them. Without this cruel experience, she would not have revealed herself as a person, would not have understood herself and her desires. After breaking up with N.N. she realized what the man of her dreams should be like. So do not be afraid of sincere impulses of the soul, you need to give them free rein, and come what may.

Criticism

The reviewers called N.N. a typical literary embodiment of the "superfluous person", and later a new type of heroine was identified - the "Tugenev young lady." Especially carefully the image of the protagonist was investigated by the ideological opponent of Turgenev - Chernyshevsky. He dedicated an ironic article to him entitled “Russian man on rendez-vous. Reflections on reading the story "Asya" ". In it, he condemns not only the moral imperfection of the character, but also the squalor of the entire social group to which he belongs. The idleness and selfishness of the offspring of the nobility ruins real people in them. It is in this that the critic sees the cause of the tragedy. His friend and colleague Dobrolyubov enthusiastically appreciated the story and the author's work on it:

Turgenev ... talks about his heroes as about people close to him, snatches their hot feeling from his chest and with tender sympathy, watches them with painful trepidation, he himself suffers and rejoices along with the faces he created, he himself is carried away by the poetic environment that he loves always surround them ...

The writer himself speaks very warmly of his creation: "I wrote it very hotly, almost in tears ...".

Many critics responded positively to Turgenev's work "Asya" even at the stage of reading the manuscript. I. I. Panaev, for example, wrote to the author about the impression of the editorial board of Sovremennik in the following expressions:

I, the proofreader, and moreover, Chernyshevsky, read the proof-reading. If there are still mistakes, it means that we have done everything we could, and we don't know how to do it better. Annenkov has read the story, and you probably already know his opinion about it. He is delighted

Annenkov was a close friend of Turgenev and his main critic. In a letter to the author, he praises his new work, calling it "a frank step towards nature and poetry."

In a personal letter dated January 16, 1858, E. Ya. Kolbasin (a critic who positively evaluates Turgenev's work) told the writer: “Now I came from the Tyutchevs, where there was a dispute over Asya. I like too. They find that Asya's face is taut, not alive. I said the opposite, and Annenkov, who arrived in time for the dispute, completely supported me and brilliantly refuted them. "

However, it was not without controversy. The editor-in-chief of the Sovremennik magazine, Nekrasov, suggested changing the scene of the explanation of the main characters, believing that it belittles the image of N.N. too much:

One remark, personally mine, and that is unimportant: in the scene of the meeting at the knees, the hero unexpectedly showed unnecessary rudeness of nature, which you do not expect from him, bursting out with reproaches: they should be softened and diminished, I wanted to, but did not dare, especially since Annenkov against this

As a result, the book was left unchanged, because even Chernyshevsky stood up for it, who, although he did not deny the roughness of the scene, noted that it best reflects the real appearance of the class to which the narrator belongs.

S. S. Dudyshkin, who in the article "The Stories and Tales of I. S. Turgenev", published in the "Notes of the Fatherland", opposed the "sick personality of the Russian man of the XIX century" to an honest worker - a bourgeois businessman. He was also extremely worried about the question of the historical fate of "superfluous people", posed by the author of "Asi".

Not everyone liked the story. After its publication, reproaches fell on the writer. For example, the reviewer VP Botkin told Fet: “Not everyone likes“ Asya ”. It seems to me that Asya's face failed - and in general the thing has a prosaically invented look. There is nothing to say about other persons. As a lyricist, Turgenev can only express well what he has experienced ... ". The famous poet, the addressee of the letter, was in solidarity with his friend and recognized the image of the main character as contrived and lifeless.

But most of all critics were indignant at Tolstoy, who assessed the work as follows: “'Asya' by Turgenev, in my opinion, is the weakest thing of all that he wrote” - this remark was contained in a letter to Nekrasov. Lev Nikolaevich associated the book with the personal life of a friend. He was unhappy that he arranged for his illegitimate daughter Pauline in France, forever separating her from her own mother. This "hypocritical position" was sharply condemned by the count, he openly accused his colleague of cruelty and improper upbringing of his daughter, also described in the story. This conflict resulted in the authors not communicating for 17 years.

Later, the story was not forgotten and often appeared in the statements of famous public figures of the era. For example, Lenin compared Russian liberals to an indecisive character:

... Just like the ardent Turgenev hero who escaped from Asya, about whom Chernyshevsky wrote: "A Russian man on rendez-vous"

Interesting? Keep it on your wall!

In his works, Ivan Sergeevich Turgenev often touches on the theme of love. But it almost always has a sad end. His story "Asya" is no exception. In this beautiful and at the same time sad work, he raises the question of true happiness. "Asya" talks not only about love, but also raises moral problems.

Ivan S. Turgenev began to write the story "Asya" after a year of inactivity. The idea came unexpectedly when the writer was in Germany in 1857. Driving past the ruins, in Zinitsk, Ivan Sergeevich saw a small house nearby. On the first floor, Turgenev noticed an old woman, and on the second, a young girl. The writer began to think with interest who they are and why they live in this house. The reliability of this fact is proved by the letters of the writer and the chronology of the work left by him.

Interesting facts will best tell about the creation of Asi:

1. Poor Writer Feelings... Although he wrote the story with inspiration, his soreness and weakness made themselves felt. Turgenev finished his work in November 1857, and in 1858 it was published in the Sovremennik magazine.
2. The autobiographical nature of the story... Asya's true prototype is unknown. In addition to the version about the image of a girl from Zinitsk, there is an opinion that the main character is similar in fate to Turgenev's illegitimate daughter, Polina. There is also a theory that the writer could have taken his sister, Barbara, as a prototype. But it is important to note that if Turgenev's daughter is really the prototype of Asya, then their characters are very different. Polina was not endowed with love for the high, and the main character of the story had a subtle sense of beauty and an unshakable love for nature.

Genre and direction

The genre of the work "Asya" by I. S. Turgenev is a story. Although initially the writer conceived it as a story. Distinctive feature the story is that it is larger in volume, there are several characters in it, many events and actions take place, but in a fairly short period of time. The titles of such books are most often speaking and associated with the main character.

I. S. Turgenev worked in the direction of realism. In his works, the surrounding reality is vividly depicted and the inner world of the heroes is described with the help of psychological techniques. However, in the story "Asya" there are features of romanticism. This can be seen from the main character, who is a typical "Turgenev girl". The writer put on her especially romantic features. This is reflected not only in appearance, but also in her character. She delights readers with her purity and sincerity.

Composition

For every piece, the role of composition is extremely important. For example, in order to convey an accurate picture of what is happening. Thanks to special compositional techniques, it is pleasant and interesting for the reader to read the book, since the text is built into a single whole.

The composition of the story "Asya" is very laconic.

1. I Exposition. Memories of N. N. about his youth and life in Germany.
2. II-VIII Stitch. Acquaintance with Gagin and his sister Asya. NN's rapprochement with them. Asya's childhood story. N.N.'s first serious conversation with the heroine. The heroine is no longer afraid of him and begins to trust.
3. X-XV Development of actions. Rapprochement of Asya and N.N. A note from Asya.
4. XVI -XXI Culmination of action and instant denouement. Meeting NN with Asya, which ended in parting. The unexpected departure of the heroes from the city.
5. XXII Epilogue. NN's thoughts about life and happiness. Lost moment regret.

The essence

The narrator N.N. shares his memories of the bygone days of his carefree youth. He traveled abroad and watched people with gusto. Without purpose and responsibility. The main events of the story unfold in the German town of Z., on the banks of the Rhine River. The place was secluded, as his soul demanded. NN's heart was broken by a young widow who exchanged the narrator for a lieutenant.

The location of the town where the narrator settled was excellent.

Once N.N. got into a business, where the students were having fun. There he accidentally overheard a conversation between two Russians and inadvertently got to know them. It turned out to be the Gagins' family. Older brother and younger sister Asya, about seventeen years old. After a short conversation, they invited the narrator to visit them, to a lonely house, which was located outside the city, where they tasted milk, berries and bread. When the pale evening came and the moon rose, N.N. went home by boat and felt truly happy.

The next day, Gagin came to his house and woke him up with a knock of a stick, after which they drank coffee and talked about what worries everyone. NN told about unhappy love, and his interlocutor said that he started painting too late and was afraid not to realize himself in creativity. Every day the narrator becomes more and more attached to Gagin and his sister. Asya behaved strangely and always in different ways. She is tense, then she is cheerful and carefree, like a child. N.N. often looks closely not only at the behavior of the girl, but also at her appearance. In his opinion, she had the most changeable face of all that he had seen. Now it was pale, then there was a grin in it.

One afternoon, Gagin escorted N.N. to the boat so that he went home. On the way, they made a detour to the old lady's house, where Asya was. The girl threw a branch of geranium to N.N. and invited him to imagine that she was the lady of his heart. The narrator's thoughts became confused. Homesickness began to overcome him. Before going to sleep, he thought about Asya, calling her a capricious girl in his head. NN was also sure that she was not Gagin's sister. For two weeks in a row, he visited them and watched with interest the behavior of the heroine. NN understood that the girl was attracted to him, even when she was angry. One evening he overheard Asya and her brother talking. Sitting in the gazebo, the girl confessed her eternal love to Gagin. With bitterness in his heart, NN went home. He considered that he was impudently deceived, and they were not relatives at all, but lovers.

N.N. spent several days alone with nature. He did not want to see Gagin and Asya. He walked through the mountains, looked at the clouds and talked with the locals who met him along the way.

At the end of the third day, returning home, N.N. found a note. In it, Gagin asked him to come. What was the surprise of N. N. when he learned the whole truth. Gagin said that he met Asya when she was about nine years old. She was the daughter of his father and a maid. Later, the girl became an orphan, and he took her to him. After N. N. learned the whole truth, his soul became easy. To some extent, he understood Asya, her anxiety and childish naivety. He began to be attracted by her soul. After talking with Gagin, N.N. went for a walk with Asya. The first time she was not afraid to tell and ask something. N.N. begins to notice behind himself that he has no time for her stories. He admires Asya, and she dreams that her wings will grow. Then they went home and danced the waltz until the evening. When N.N. was driving home, there were tears in his eyes from happiness. He didn't want to think if he was in love or not. He just felt good.

The next day, after another conversation with Asya, N.N. realized that the girl loved him. She looked worried. She talked about death and asked strange questions. One day, while walking around the city, he met a boy who handed him a note from Asya. The girl wanted to see him immediately, at four o'clock at the chapel. It was only twelve o'clock, and he went to his room. Suddenly, an agitated Gagin came to him. He reported that Asya had a fever and fever during the night. She confessed to her brother about her love for N.N. and wants to leave the city. The narrator was puzzled and told Gagin about the note he had received from Asya. He realized that he would not marry a seventeen-year-old girl, and that it was necessary to end it immediately. Having gone to the appointed place, N.N. again met the boy, who had earlier given a note from Asya. He said that the girl changed the meeting place and was waiting for him at Frau Luisi's house, an hour and a half later. There was no need to return home, and N.N. went to wait in a small garden, where he drank a glass of beer. When the time came, he went to the old woman's house and knocked weakly on the door. Frau Louise escorted him to the third floor, where Asya was already sitting. Addressing her by name, patronymic, N.N. saw how she was trembling. He felt sorry for her, and he was confused. Then he pulled Asya towards him, and her head lay on his chest. But suddenly N.N. remembered about Gagin and their conversation. He began to blame Asya for telling her brother about her feelings, and because of this, they need to end the relationship immediately. The girl silently listened to him, but, unable to bear it, fell to her knees and wept bitterly. NN was frightened and realized what a mistake he had made. But she jumped up and ran away. He went to the Gagins' house, but Asya was not there. Wandering the streets, N.N. looked for her, but to no avail. He felt remorse and regret for not telling Asya how much he loved her and did not want to lose. Returning again to their house, Gagin said that the heroine was found, but she was already going to bed. N.N. decided that tomorrow he would certainly confess everything to her. He was even ready to marry her. But his plans were not destined to come true. At six o'clock in the morning, Asya and Gagin left the city.

NN felt unbearable grief and anger at himself. He decided to find Asya by all means and never let her go again in his life. When he was going home to pack his things and go after the Gagins, he was distracted by Frau Lisa, who gave him a note from Asya. It was written in it that he needed to say only one word, and then everything would be different. When N.N. reached the city of Cologne, he found out the further direction of the Gagins and followed them to London, but further searches were unsuccessful.

NN never saw Asya again, not even knowing if she was still alive. Soon he resigned himself and sent everything to the fate of fate. But only the heroine awakened strong and vivid emotions in him.

The main characters and their characteristics

• Anna Gagina (Asya)- the main character of the story of the same name. Asya's description is given by the author: she is a dark-skinned girl with short black hair. She was seventeen years old and due to her age she was not fully developed, but she had a special grace in movements. At the same time, Asya never sat idle. She was constantly moving, humming something and laughing loudly. It was hard not to notice children's antics in Asya's behavior, sometimes they were even indecent. Throughout the entire work, Turgenev reveals her image gradually. At first, Asya seems to us strange and alienated, but later we find out her fate. A young girl does not know how to be in society at all, because she grew up surrounded by peasants. She is shy about her origin. There are no restrictions for her, she does not know what a lie is. The moral qualities of the heroine: honesty, openness, fortitude and the ability to love. It is because Asya is endowed with these qualities that she rushes into the pool of love with her head. But due to the indecision of N.N., the girl could not find real happiness. Turgenev's attitude to Asya is quivering and tender. Reading a work, you notice with what love he describes it. The writer endowed her with extremely positive qualities.
• Gagin - Asya's brother... A young man with a cap on his head and a wide jacket. This is how, when meeting, Turgenev describes his hero. Gagin had a happy face, big eyes and curly hair. In the course of the work, we learn that Gagin is a fairly wealthy nobleman. He does not depend on anyone. During one of the conversations with N.N., Gagin says that he is engaged in painting and plans to devote his future to this. Turgenev endowed him with a calm and balanced character. We can say that Gagin is a mediocre Russian person, his image is the traditional type of an amateur in all spheres of life.
• N. N.- the one thanks to whom readers get to know Turgenevskaya Asya. The narrator tells about his days gone by when he was twenty-five years old. Carefree and young, he traveled abroad. This is a person who loves to be in a crowd and watch people, faces, their laughter and conversations. This calmed him down. N.N. was not someone who thinks about life, and indeed about tomorrow. At the moment of the last meeting, he behaves aloof and blames only Asya for all the problems, and this gives completeness to the image of N.N. Cowardice and indecision of the hero's character lead to a tragic denouement of the story.

Themes

• The main theme of the story is love... However, as in many of Turgenev's works. Love for Ivan Sergeevich is not a simple feeling. In his opinion, this is the element that plays with the fate of people. Asya could not find mutual and true all-consuming love. Her happiness with N.N. became doomed to impossibility. It is worth noting that Turgenev's worldview of the "pipe feelings" in the story was formed under the influence of the German philosopher. Thus, a pure and beautiful feeling remained only a memory for the heroes of the story. The theme of love performed by the writer is inextricably linked with the tragedy of the attraction of two hearts.
• Nature... I. S. Turgenev as a real artist describes nature in his works. The author's admiration for her powerful force is felt. Also, the landscape carries an emotional load. In order to create a romantic and calm atmosphere, Turgenev specially placed his characters in a quiet town in Germany. A detailed description of the nature and experiences of the heroes makes you admire the skill of the writer.
• Rock theme... Fate in the story "Asya" is the fate that mercilessly separated N. N. from Asya. But still, there would be no predestination if he was not afraid to show his feelings in time. The separation was solely through his fault. But it seems that N. N. did not fully realize this. In the epilogue, he says that maybe this is all for the best, and fate correctly disposed of their lives. According to N.N., most likely their marriage would have been unhappy. And besides, he was still young then, and the future did not bother him.

Problems

1. The motive of Russia... At the beginning of the work, when N.N. was not thinking about anything and was heading home, he was struck by a rare smell for Germany. He saw a cannabis patch next to the road. The smell was familiar to him and reminded him of his homeland. Suddenly for himself, he was pierced by a longing for his native land. There was a desire to go back to walk again through the Russian expanses and enjoy this air. NN began to ask himself why he was here and why. After that, even Asya began to remind him of an absolutely Russian girl, and this feeling strengthened the hero's attraction to her. This passage contains the personal experiences of I. S. Turgenev. Although he lived abroad, homesickness still overcame the writer.
2. Asya's tragedy lies primarily in its origin. The girl does not know how to behave in society and is shy in dealing with strangers. Although the main tragedy of the story is that Asya allowed herself to fall in love with someone who could not give her the feelings she deserves. The young, sincere and proud girl could not suppress the quivering love and affection in herself. Asya's tragedy is connected with the theme of the superfluous person in the works of Turgenev. N.N. was a carefree and not purposeful young man. For fear of becoming happy, he made the main character unhappy.

The problematic of the work is quite multifaceted, therefore, in addition to the above problems, in the story "Asya" Turgenev asks the reader other equally important problematic questions.

• For example, describing the fate of Asya, the writer raises the problem of extramarital affairs... He draws the attention of readers to the fact that this is abnormal, and the child suffers the most from this. Society is not ready to accept such unions, so you should not condemn children to non-recognition and alienation.
• This is also connected with the problem of adolescence... In fact, Asya is still a teenager, she is only seventeen years old, and her behavior is not always clear for N.N. Turgenev shows that she is still quite young and has not been formed as a person, so she took a rather ordinary and stupid person for her ideal.
• The problem of cowardice and moral choice also vividly reflected in the story. The main character was mistaken for fear of taking a decisive action, and he was also afraid of the reaction of society to his marriage to an illegitimate girl. He is too dependent on outside opinion, on generally accepted canons, and even love could not free him from social slavery.

Main idea

The plot of the story by Ivan Sergeevich Turgenev is quite simple due to the fact that it is more important for him to portray the inner world of his heroes than their actions. The psychology of the book is much more important than the action. While portraying characters, the writer reflected on what the thirst for which shapes them. Therefore, the meaning of the work can be expressed by the phrase: "Happiness has no tomorrow." NN lived in anticipation of him, unconsciously looked for him on his travels, but, faced with him, he lost forever, smugly believing that he would have time to return him tomorrow. But the essence of happiness is in transience and fragility - if you just let it go, it will disappear forever, and there will be no “tomorrow”.

Turgenev's main idea is undeniable, but nevertheless, the tragedy of first love, which is often accompanied by unrealizable illusions and dramatic turns, convinces us once again of its correctness. The writer clearly shows how NN's cowardice and fear of his own feelings destroyed everything, how a young girl made a mistake in him, but could not convince her heart of this.

What does it teach?

Turgenev makes readers think about what love is. He does not want to show this feeling only through the prism of something beautiful. It is more important for him to portray the reality of life, though harsh. Love can heal a person and give him the most wonderful emotions, but sometimes he does not find the strength to fight for it. It is easy to lose it, but it is impossible to return it ... But not everything is so sad. It is important to understand that I am grateful that Asya learned the feeling of sincere love, she has become much stronger and wiser. After all, everything in our life is a lesson.

The story "Asya" teaches not to be afraid to be happy. There is no need to keep silent about what is really important to say. The narrator N.N. was never able to admit to Asya that he loved her. He regretted this offense all his life, keeping her beautiful image in his heart. Thanks to young Asya, who does not know how to feel half, N. N. understands the main truth. There is only a moment, because "happiness has no tomorrow." This is the main conclusion from what I have read.

The moral of the story is also very instructive. Each of us, at least once in our life, regretted a wrong act or a word that was said out of anger or fatigue. But you can't turn back the spoken word, so people should take a responsible approach to what they say.

Artistic details

The role of landscape... To reveal the state of mind of the heroes, Turgenev uses a landscape, which in the story becomes a "landscape of the soul." He always plays a role. That romantic, then psychological. Also, the landscape performs different functions in the text. It can only be a background, or acquire a symbolic meaning, create an image of a hero. Every detail of Turgenev's landscape even breathes in its own way. For example, in the first chapter, when N. N. recalls his love with a young widow, his feelings are not so sincere. While the city described by Turgenev is filled with liveliness. Thus, the reader notices how subtly the writer compares it with "love" N. N. The man enjoys feigned longing, although his soul has already been comforted and blossomed, like the flowering scenery of the story. Or the seventh chapter, where the narrator is depressed because of the overheard conversation between Asya and Gagin. NN finds comfort in the beauty of nature.

Music. With the help of music, the writer reveals aspects of his characters that were previously hidden. When reading a story, a person may not immediately pay attention to its significance. We "hear" music for the first time when N. N. meets Asya and her brother. The next important point is the mention of Lanner's waltz in the second chapter, which is an important detail of the story. NN heard his sounds when he was returning home. Later, to the same waltz, he circled with Asya in a dance. In this episode, we see how again Turgenev reveals the girl in a new way. She waltzed beautifully. This moment is significant, since we notice that N.N. is not indifferent to the heroine. The author uses the sounds of the waltz a second time for a reason. He appears precisely at a significant, turning point for lovers. At the end of the story, the music dies down and no longer appears.

Psychologism and originality

The artistic originality of the work lies in the fact that Turgenev moves to the so-called new stage of his work. The study of personality with the help of psychological methods is achieved by realism. Turgenev also skillfully uses a literary technique, thanks to which he focuses the readers' attention on the fact that N.N.'s memories are connected exclusively with the past, thereby showing that he could not find anything more significant and more important in his life than a love relationship with Asya.

In his story, the writer applies the principle of “secret psychologism”. This is Ivan Sergeevich's own invented method, since he believed that a writer should also be a psychologist. Turgenev portrayed completely different personalities in psychological type: melancholic N.N. and choleric Asya. If we learn the temperament of the heroine through N.N.'s observation of her behavior, then the narrator himself is revealed through monologues-reasoning. With their help, the writer reveals his personality and experiences.

Criticism

Simple, but at the same time, such a deep and heartfelt work received both positive and negative reviews.

It is worth paying attention to the article by Chernyshevsky, who did not share the views of the writer, - “Russian man on rendez-vous. Reflections on reading the story "Asya" ". In it, he immediately declares that he is not interested in the artistic merit of the work. He criticized the hero N. N., considering him almost a villain. Chernyshevsky writes that the narrator is a portrait of the Russian intelligentsia, disfigured by the deprivation of civil rights. But considering the image of the main heroine of the story, he notes that even criticism carries exceptionally bright feelings. This is due to the poetry of Asya's image, which appealed to Chernyshevsky.

It is important to note that Turgenev himself, in a letter to Leo Tolstoy, admitted that he agreed with all the reviews and would be surprised if everyone liked his creation:

I know you are unhappy with my last story; and you are not alone, many of my good friends do not praise her; I am convinced that you are all right;

The creation of the story "Asya" was an important stage for him in his work. He wrote her while in a mental disorder. Nevertheless, the editors of the Sovremennik magazine, in which the story was published, enthusiastically appreciated the new work of the writer. But N.A.Nekrasov had a remark about the scene of N.N. And Asya's last meeting:

The hero unexpectedly showed unnecessary rudeness of nature, which you do not expect from him, bursting into reproaches: they should be softened and reduced, I wanted to, but did not dare.

Despite all the comments, Turgenev's friends did not stand aside and expressed their opinion. Although Leo Tolstoy did not like Asya, he noted the artistic merits of the story and re-read it.

Even the literary critic D.I.Pisarev, a nihilist and a very radical journalist who burned with revolutionary fervor, appreciated the story with enthusiasm. He was impressed by the character of the heroine, and he believed that she was "a sweet, fresh, free child of nature."

"Asya" is one of the most famous works of I. S. Turgenev, written in the lyric genre. This is a story of pure, sincere love of two young people, which was ruined due to the cowardice and cowardice of the protagonist.

Summary of "Asi" for the reader's diary

Number of pages: 64. Turgenev Ivan Sergeevich. Asya. Iskatelpress Publishing House. 2016 year

genre: Story

Year of writing: 1857

Time and place of the plot

The story is set in the summer of 1857 in a small German town. It was there that the fateful meeting of Russian travelers - the young nobleman N.N. and the Gagins took place. The work is written in the form of memories of Mr. N. N. The story is named after the main character - Asya (Anna) Gagina.

main characters

Asya is a young, beautiful girl of seventeen with lively black eyes, a spontaneous, freedom-loving, bright personality.

Mr. N.N. is the hero on whose behalf the story is told, a young man of twenty-five years old, calm, weak-willed, observant, full of life prejudices.

Gagin is Asya's half-brother, a young artist, straightforward, honest, who cares about his sister anxiously.

Plot

A young man NN, leading an idle lifestyle, traveled around Europe, until one day, in a small provincial town in Germany, he met a couple from Russia. They were Gagina's brother and sister. Mr. N.N. was especially struck by the behavior of seventeen-year-old Anna, whom her brother called Asya. She was a very bright, lively, spontaneous girl, whose mood changed like a kaleidoscope. The hero did not understand the motives of Asya's actions, but it was this mysteriousness that captivated him, and he fell more and more in love with the girl.

Once, having accidentally listened to the Gagins' conversation, Mr. N.N. imagined that they were not brother and sister. He left them for several days, but after that Gagin met with him and told Asya's story. It turned out that the girl was the illegitimate daughter of his father, who had a relationship with the beautiful maid Tatiana. Gagin's father loved the girl very much, and even officially recognized her. And Gagin himself became attached with all his heart to his half-sister.

Meanwhile, Asya was very worried about her origin, and for this reason she did not get close to anyone. Mr. N. N. had a wonderful time with her, it seemed to him that he deeply loved her. However, Gagin was of a different opinion. He believed that N.N., who was at the mercy of prejudices, would not be able to make Asya happy.

Making an effort on herself, Asya wrote a letter to N.N., and he hurried to a date with the girl. However, when he met, he never found the strength to make a declaration of love. Asya, deeply offended in her feelings, ran away, and her brother found her with difficulty. The next morning, Mr. N.N. learned that the Gagins had left the German town. In panic, he rushed after them, but he was no longer destined to see Asya.

Conclusion and your opinion

The story shows how important it is to appreciate and cherish a real feeling. Not every person can say that there was sincere mutual love in his life, and if it did appear, you need to make every effort to preserve it. However, the main character, due to his indecision, constraint and prejudice, gave up the chance to be truly happy. Already a mature man, he very much regretted his weakness, since he never fell in love with anyone again. It is difficult to imagine how the future life of Asya, who lived exclusively with feelings and emotions, developed.

the main idea

Love is a great miracle, a gift from heaven, and should never be neglected.

Author's aphorisms

“… Complete independence in everything! is it easy to take it out? .. "

"... laughter for no reason is the best laugh in the world ..."

"... While you dream of work, you soar like an eagle: it seems, you would have moved the earth - but in performance you immediately weaken and get tired ..."

"... My wings have grown - but there is nowhere to fly ..."

"... obscure speeches in which the Russian people are so eagerly poured ..."

“… Happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has a present - and that is not a day - but a moment ... "

Interpretation of incomprehensible words

Lone lackey- a footman hired to accompany the journey.

Commercial- student revelry in corporations of German universities.

Hungarian- a kind of jacket with crisscross cords on the chest.

Stones- stones.

Seltzer water- mineral water of natural gassing from the German source Niederselters.

Knicksen- bow with squatting as a sign of greeting or gratitude on the part of women.

New words

Gothic- the architectural style that was most often used in the construction of temples, cathedrals, churches.

Plisse Vest- a vest made of plisse (velvet fabric with a long pile).

Rhine wine- a variety of grape wine.

Scarf- a scarf made of thin, transparent material.

Story test

Reader's diary rating

average rating: 4 . Total ratings received: 1666.