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

Summary of "Asi" for the reader's diary

Number of pages: 64. Turgenev Ivan Sergeevich. "Asia". Publishing house "Iskatelpress". 2016

Genre: Tale

Year of writing: 1857

Time and place of the plot

The action of the story takes place 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 the memoirs 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 years old with lively black eyes, a spontaneous, freedom-loving, bright personality.

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

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

Plot

The young man N.N., 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 mystery that captivated him, and he fell more and more in love with the girl.

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

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 had a different opinion. He believed that N.N., who was in the grip of prejudices, would not be able to make Asya happy.

Having made an effort on herself, Asya wrote a letter to N.N., and he hurried to meet the girl. However, at the meeting, he did not find 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 a panic, he rushed after them, but he was no longer destined to see Asya.

Conclusion and opinion

The story shows how important it is to appreciate and cherish the real feeling. Not every person can say that there was sincere mutual love in his life, and if it appeared, you need to make every effort to preserve it. However, the main character, due to his indecision, stiffness and prejudices, refused the chance to be truly happy. Being already a mature man, he was very sorry for his weak will, because he never fell in love with anyone again. It is difficult to imagine how the further life of Asya, who lived exclusively with feelings and emotions, developed.

the main idea

Love is a great miracle, a gift from heaven, and you should never neglect it.

Author's aphorisms

“... Complete independence in everything! but is it easy to bear it? .. "

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

“... While you are dreaming about work, you are soaring like an eagle: it seems that the earth would be moved from its place - but in performance you immediately weaken and get tired ...”

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

“... unclear speeches in which the Russian people so willingly spill ...”

“... Happiness has no tomorrow; he does not have yesterday 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 obscure words

long footman- a lackey hired to accompany him on a journey.

Commercial- student revelry in corporations of German universities.

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

stones- stones.

seltzer water– mineral water of natural gas from the German source Niederselters.

Knicksen- a bow with a squat as a sign of greeting or gratitude from females.

New words

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

Plush vest- a vest made of plush (velvet fabric with a long pile).

Rhine wine- grape variety.

Muslin scarf- a scarf made of thin, transparent material.

Story test

Rating of the reader's diary

Average rating: 4 . Total ratings received: 1666.

Turgenev I., "Asya"

Genre: story

The main characters of the story "Asya" and their characteristics

1. N.N., young man, 25 years old. With a rich imagination, observant, full of life prejudices and complexes. Weak, fearful, distrustful, not sincere.
2. Asya (Anna Nikolaevna), dark-eyed, with short hair, swarthy, very lively and energetic. Timid and shy, but tends to seem cheeky, free. Kind and brave, touching and tender. Immediate as a child, bright personality.
3. Gagin. A young artist, rushing from one extreme to another, touchingly takes care of Asa.

The shortest content of the story "Asya" for reader's diary in 6 sentences

1. N.N. spends time in the city of Z. and meets Gagin and his sister Asya, who makes a strong impression on him.
2. Gagin tells the story of Asya, who turns out to be his father's illegitimate daughter.
3. Asya falls in love with N.N., and invites him on a date, at the same time asking her brother to take her away as soon as possible.
4. N.N. meets with Asya, but says that he cannot love her, and Asya runs away in tears.
5. Gagina hastily leave, and N.N. desperately trying to find them, he realizes how much he loves Asya.
6. N.N. never saw Asya again and lived his life as a lonely bean.

The main idea of ​​the story "Asya"
Love is a miracle that must be protected by all means.

What does the story "Asia" teach
The story teaches not to miss your happiness, to believe your feelings, not to try to explain love with logical arguments. It teaches you to understand that happiness is a very rare thing in this world and therefore you need to fight for it.

Feedback on the story "Asia"
I really enjoyed this touching story. I feel sorry for Asya, who was deceived in her best feelings, and I resent N.N., who turned out to be too weak to believe in his own feelings, and therefore missed such a wonderful girl. But N.N. he punished himself, but I believe that Asya's fate turned out better than his.

Proverbs for the story "Asya"
Great love is not quickly forgotten.
If you love - get married, if you do not love - get rid of.
Love does not know the law, does not count years.
Love is not a fire, but on fire - you can’t put it out.
Happiness does not go to the same house twice.

Read the summary brief retelling story "Asya" by chapters:
When N.N. was 25 years old, he was abroad for the first time, traveling without any purpose, watching different people.
One day he found himself in the picturesque German town of Z. on the banks of the Rhine. There N.N. settled, and often sat on the banks of the Rhine. On that day, he heard the sounds of a march from the opposite bank of the river and decided to visit the city of L., in which the students arranged a commercial.
The Germans called the solemn feast Kommersh and N.N. I enjoyed looking at the cheerful students. Suddenly he heard Russian speech and turned around. N.N. saw an ugly young man who was holding a short girl by the arm.
They got to know each other. The young man called himself Gagin, and the swarthy girl with black eyes turned out to be his sister.
The Gagins immediately invited N.N. to visit you, to look at the vineyards. N.N. approved of the house and the view, and soon the young people were chatting merrily.
At first, Asya was shy at N.N., but then she got into a conversation with him.
At night N.N. went back on the carrier, and Asya shouted that the carrier had broken the lunar pillar standing in the water with oars.

The next morning, Gagin came to N.N., and he told him about unhappy love, but did not meet with sympathy. But Gagin invited N.N. to visit and showed his sketches. The sketches were not finished and did not please N.N. Gagin agreed with him and the friends went to look for Asya, who had gone to the ruins of the old castle.
Young people found Asya sitting on a ledge near the ruins. N.N. decided that Asya wanted to surprise them and was dissatisfied with the childish trick. But Asya jumped off the ledge and took a glass of water from the old German woman to water the flowers. N.N. involuntarily admired her quick and dexterous movements.
Asya continued to have fun and play pranks. On the way back, she sang loudly.
Returning home. Asya changed clothes and appeared at dinner in a new image, a prim girl. Gagin smiled condescendingly.
Then Asya went to Frau Louise, and the young people began to talk about life. Then Gagin went to see N.N. and they went for Asya.
At home N.N. I thought a lot about Asya and began to suspect that she was not Gagin's sister.
The next day, N.N. was again with the Gagins and Asya changed again. She was quiet and calm, reminded N.N. ordinary Russian girl.
Gagin and N.N. went to the hill, where Gagin painted, and N.N. read. Then they returned, and Asya was still quiet.
In the evening N.N. more convinced of his suspicions.
Two weeks N.N. every day he visited the Gagins and watched Asya. He saw that she received a strange education, was shy and bashful, but tried to hide it behind swagger.
Somehow N.N. accidentally heard a conversation between Asya and Gagin in the gazebo, in which Asya talked about her love for Gagin and kissed him. N.N. decided that now he knew for sure that Asya Gagina was not her sister and felt annoyed.

N.N. went to the mountains for three days to put his thoughts in order. When he returned, he found a note from Gagin, in which he called him to visit.

Asya was again cheerful and carefree, and when she ran away, Gagin suddenly started talking about her and began to tell the story of the girl.
It turned out that Asya was his paternal sister after all. Gagin's mother died early and his father raised his son himself for a long time, in the village. Then he sent to Petersburg. On one of his visits to his father's house, Gagin found a ten-year-old girl there, Asya, about whom her father said that he took her to feed.
Soon, Gagin's father fell seriously ill and died, having managed to bequeath Gagin Asya, his sister, before his death. The valet Yakov told the young master that Asya was the daughter of the maid Tatyana, with whom Gagin's father got along a few years after the death of his wife. He even wanted to marry Tatyana, but she herself refused to embarrass the master.
After the death of Tatyana, the master took the girl to him, and so Asya found out about her origin. And now a thirteen-year-old girl was in the arms of a twenty-year-old master. Gagin gave Asya to a boarding school, and when the girl turned seventeen, he took her abroad. Gagin called Asya gunpowder and said that trouble awaits the one she loves.
But N.N. after this story it became easy and sweet.
N.N. and Asya went for a walk in the garden and talked about all sorts of little things. Asya said that she would like to go along with the pilgrims, and then asked that N.N. like it in women. Then Asya regretted that they were not birds, but N.N. said that a person's wings can grow from certain feelings. Then they returned to the house and danced waltzes.
Home N.N. he set off late, and, looking at the slow waters of the Rhine, he thought about the happiness with which his soul was filled, and which he lacked so much.
The next day, N.N. came very cheerful, but Asya, on the contrary, was sad. She said that she had not slept all night and thought a lot. She was afraid that she had little mind, that N.N. it will be boring.

Asya remained sad and preoccupied, and even asked N.N. would he be sorry if she died. Then she said that her wings had grown, but there was nowhere to fly.
Leaving N.N. thought that Asya was in love with him.
XIII
The next day, N.N. saw Asya only briefly, she was sick. A day later, I received a note from Asya, in which the girl wrote that she had made a big negligence and called N.N. to the old chapel.

N.N. was in deep thought when Gagin suddenly came to him and immediately said that Asya was in love with N.N. It turned out that when Asya Gagin, worried about the illness, went up to her room, the girl burst into tears and confessed her love. And Asya was afraid that N.N. despises her, and therefore she asked her brother to leave quickly.
But Gagin decided to ask N.N. how he relates to his sister. and N.N. He said that he liked Asya. But when asked by Gagin whether he could marry Asya, he hesitated and began to mutter something. Then he showed Asya's note to Gagin, and he threw up his hands.
N.N. agreed with Gagin that he would go on a date and explain himself to Asya. And Gagin said that they would leave tomorrow, because N.N. does not marry Asa.
When he left, N.N. thought that he could not marry a seventeen-year-old girl with such a disposition.
N.N. went on a date, but he was again met by a boy who said that the place of the date had changed. Asya will be waiting for N.N. at the burgomaster's house in an hour and a half.
N.N. went into the garden where the Germans were playing skittles and took a beer, he tried to look into the face of a German maid, but she turned away. Some German said that Gretchen was unhappy because her fiancé was taken to the soldiers.
N.N. I thought about Asa for a long time. not understanding why he refuses happiness, but decided that it was because happiness was too sudden. He was determined not to marry.
At the appointed hour, he approached the burgomaster's house and Louise called him inside.

In the semi-darkness N.N. I saw Asya, timid and motionless. He felt extremely sorry for the girl, and she suddenly touched his hair with her hand and bowed her head on his chest. She uttered only one word: "Yours."
But N.N. suddenly recoiled. He said that he told Gagin everything and that he knows about the date. N.N began to reproach the girl for revealing everything to her brother herself. He said that Asya ruined the nascent feeling and that she doubted it. And so she must leave.
Asya suddenly sobbed, and then hurriedly rushed out.

N.N. scolded himself for not understanding why Asya changed the meeting place. He tried to comfort himself by acting like an honest man, but the image of Asya haunted him. N.N. walked towards her house.

Gagin was alone, Asya did not return. He said that he went to the chapel, but did not see anyone there. N.N. confessed that he had met Asya at the burgomaster's house, but had only seen her for five minutes and said as agreed.
Gagin offered to split up and go look for Asya.

N.N. he ran around the whole city, feeling a strong love for Asya, and promised himself never to part with her. He saw a white figure at the grave cross, but when he ran there, there was no one there. N.N. decided to return to Gagin and find out if he had found Asya.
The light was on in the Gagins' house, and Gagin said through the window that Asya had returned and was going to bed. He asked N.N. come in tomorrow.
N.N. joyfully went home, thinking that now he would never part with Asya.

In the morning N.N. found only an empty house, and the maid handed him a letter and said that the guests had left early in the morning.
In the letter, Gagin explained why they left and mentioned the prejudices due to which N.N. cannot marry Asa.
N.N. learned that the Gagins sailed to Cologne, and began to collect things. But Louise came to him and handed over a note from Asya. In it, Asya wrote that if N.N. had said that evening, just one word, and she would have stayed. But he didn't say that.
N.N. he cursed himself that he shouted this word only to the fields and threw it into the wind. He packed his things and sailed to Cologne.

In Cologne N.N. learned that the Gagins had gone to London, but they were not in London either. And more N.N. never saw Asya.
He began to console himself with the fact that he would hardly be happy with Asya and thought that this wonderful feeling would surely return even stronger and more beautiful. But it didn't come back. N.N. remained a bean, and lived out his boring years, keeping the dried geranium flower, thrown to him by Asya, like a holy relic.

Drawings and illustrations for the story "Asya"

Asya's story is a subtle, poetic story about uncompleted love from the numerous works of Turgenev, which I managed to read, Asya remained the most misunderstood. How do they differ from us? Turgenev teaches to love both people and the world, teaches to be kinder, teaches. What does the book teach? who is the prototype of asi is not exactly known. Asya's work was completed in 1857, and the writer first intrigues us, for example, shows strange behavior. What does the book teach? who is the prototype of asi is not exactly known. Asya's work was completed in 1857, and the writer first intrigues us, for example, shows strange behavior. Asya's story is a subtle, poetic story about uncompleted love from the numerous works of Turgenev, which I managed to read, Asya remained the most misunderstood. How do they differ from us? Turgenev teaches to love both people and the world around him, teaches to be kinder, teaches.

Review of Book Asya - I.S. Turgenev Work about

We are also married, we have three grown children and three grandchildren. it can be ancient legends or modern works, classical poetry, or we love Asya and Andrey and know how to teach adults and children. To read online book Please follow the given link. I think this story teaches us that if you love a person very much, tell him about your touching work of Ivan Sergeyevich Turgenev. On November 18, 2019, Turgenev’s works certainly influenced the mood of both Asya and the unfortunate Susanna gathered in an airy crowd. novel is the mysteries of life, which Pushkin teaches us to see and understand. On November 18, 2019, Turgenev’s works certainly influenced the mood of both Asya and the unfortunate Susanna gathered in an airy crowd. novel is the mysteries of life, which Pushkin teaches us to see and understand.

What does the work of asya teach us

100 reviews of the book Asya (collection) by Ivan Sergeevich Turgenev. Of the numerous works of Turgenev that I was able to read, Asya remained the most misunderstood. How do they differ from us? Turgenev teaches to love both people and the world around him, teaches you to be kinder, teaches you to trust your heart. To read Asya's book online, follow the link provided. I think this story teaches us that if you love a person very much, tell him about your touching work of Ivan Sergeyevich Turgenev. We are also married, we have three grown children and three grandchildren. it can be ancient legends or modern works, classical poetry, or we love Asya and Andrey and know how to teach adults and children. This book teaches us to appreciate what we have, so it is worth reading and reflecting on the fact that you do not need to constantly try to be for someone. This book teaches us to appreciate what we have, so it is worth reading and reflecting on the fact that you do not need to constantly try to be for someone.

I. S. Turgenev’s story “Asya” tells how the acquaintance of the protagonist, Mr. N. N., with the Gagins develops into a love story, which turned out to be a source for the hero of both sweet romantic languor and bitter torment, which later, over the years, lost their sharpness, but doomed the hero to the fate of a bean.

On the second day of their acquaintance, he carefully observes Asya, who both attracts 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 unease, which grows into an incomprehensible anxiety; then a jealous suspicion that the Gagins are not relatives.

Two weeks of daily meetings have passed. N. N. is more and more upset by jealous suspicions, and although he was not fully aware of his love for Asa, she gradually took possession of his heart. He is overwhelmed during this period with 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, N.N. still does not know what awaits him in the future "the loneliness of a familyless bean", he hopes for "tomorrow's happiness", not knowing that "happiness has no tomorrow ... he has the present is not a day, but a moment. N.N.'s love for Asya, obeying a whimsical game of chance or a fatal predetermination of fate, will flare up later, when nothing can be corrected. The hero will be punished for not knowing love, for doubting it. “And happiness was so close, so possible…”

29. “Russian man on rendez vous” (The hero of the story “Asya” by I. S. Turgenev in the assessment of N. G. Chernyshevsky)

N. G. Chernyshevsky begins his article “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 backdrop of business-like, revealing stories prevailing at that time, which leave a heavy impression on the reader, this story is the only good thing. “The action is abroad, away from all the bad atmosphere of our home life. All the characters in the story are among the best people among 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, the impression left from it is even more bleak than from stories about nasty bribe-takers with their cynical robbery. The whole point, N. G. Chernyshevsky notes, is in the character of the protagonist (he gives the name Romeo), who is a pure and noble person, but 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 gives examples from other works by I. S. Turgenev, as well as N. A. Nekrasov, to show that the situation in the story "Asya" turns out to be typical of Russian life, when the hero talks a lot and beautifully about high aspirations, captivating enthusiastic girls capable of deep feelings and decisive actions, but as soon as “it comes to expressing their feelings and desires directly and accurately, most of the characters begin to hesitate and feel slowness 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 is 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 focus 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 (according to the story of I. S. Turgenev "Asya")

Turgenev's girls are heroines whose minds, richly gifted natures are not spoiled by the light, they retained 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 real name of the girl is Anna. Let's think about the meanings of the names: Anna - "grace, good looks", and Anastasia (Asya) - "born again". Why does the author stubbornly call the pretty, graceful Anna Asya? When does rebirth take place? Let's look at the text of the story.

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

At first, Asya makes a strange impression on the protagonist, Mr. N.N., because he behaves in a completely different way than the well-bred secular young ladies familiar to him. In the presence of a guest, "she did not sit still for a single movement, she 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 Turgenev's heroine.

Watching Asya, seeing her fearless and self-willed girl, the narrator admires her, and gets annoyed with her, and feels that she plays different roles in life. Now she is a soldier marching with a gun, shocking the stiff English; 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 fond of Asya. Communication with this "life-filled girl" makes the hero take a fresh look at himself, and for the first time in his youth, he feels regret that his vitality is so senselessly wasted in wanderings 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 early learned the orphanhood and duality of her position; a person with such a pedigree, as already, was constantly humiliated and insulted, neither the peasant environment nor the secular society accepted such people. Both the brother and then Mr. N.N. understood her “kind heart” and “poor head”, her modesty and joy, “inexperienced pride”, saw how “she deeply feels and with what incredible power these feelings are in her.”

Asya is magnificent in the chapters, where her soul is revealed, feeling happiness. Previously, she was mysterious, she was tormented by uncertainty, she went to her idol, now he paid attention to her, but in a different way, “the 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 backdrop of the fabulous beauty of nature! No wonder the author recalls the folk German legend about Lorelei.

Asya reveals herself to us deeper and more beautifully, she is characterized by an idealistic faith in the unlimited possibilities of man. Romantic distances beckon her, she longs for activity and is sure that “not to live in vain, to leave a trace behind herself”, and also to accomplish a “difficult feat” is within the power of every person. When a girl talks about the wings that she has grown, she means, first of all, the wings of love. In relation to Asya, 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 a great feeling, realizes. These words contain not only an understanding of the futility 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 the close, closed world of "wingless" beings.

This psychological contradiction between Mr. N. N. and Asya is most clearly expressed in the meeting scene. The fullness of the feeling experienced by Asya, her timidity, 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 because he did not recognize love, doubted it. And love cannot be postponed until tomorrow, this is a moment that will never happen again in the life of the hero: “Not a single eye can replace those eyes.” She will forever remain in his memory, the Turgenev girl, strange and sweet, with a slight laugh or tearful eyes, a girl who can give happiness ...

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

The story of I. S. Turgenev "Asya" is sometimes called the elegy of an unfulfilled, missed, but such a close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of the spiritual states of a loving person, the landscape also helps the author, which in the story becomes the “landscape of the soul”.

Here we have the first picture of nature, introducing us to the scene, 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, peering into the clear sky with a fixed moon, pouring 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 the new acquaintances of the Gagins, although before that he did not like to meet Russians abroad. The spiritual intimacy of these young people is also revealed with the help of the landscape: the Gagins' dwelling was located in a wonderful place that Asya liked first of all. The girl immediately attracts the attention of the narrator, her presence, as it were, illuminates everything around.

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

The continuing acquaintance with the Gagins sharpened the feelings of the narrator: he is attracted to the girl, he finds her strange, incomprehensible and surprising. The jealous suspicion that Gagina is not a brother and sister makes the hero seek solace in nature: “The mood of my thoughts had to match the calm nature of that region. I gave myself up to the quiet play of chance, the accumulating impressions ... "Followed by a description of what the young man saw in these three days:" a modest corner of German land, with unpretentious contentment, with widespread traces of applied hands, patient, although unhurried work ... "But the most important thing here is the remark that the hero "given himself entirely to a quiet game of chance." This phrase explains the contemplative nature of the narrator, his habit of mentally not straining, but going with the flow, as depicted in Chapter X, where the hero actually sails home in a boat, returning after a conversation with Asya that excited him, who opened her soul to him. It is at this moment that the merging with nature in the inner world of the hero takes place. new turn: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya. But the hero prefers to give himself thoughtlessly to incoming impressions: "I'm not only about the future, I didn't think about tomorrow, I felt very good." Everything goes on rapidly: Asya’s excitement, her realization of the futility of her love for the young aristocrat (“I have grown wings, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, sudden departure of brother and sister. During this short time, the hero begins to see clearly, a reciprocal feeling flares up, but it's too late, when nothing can be corrected.

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

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

Only this “insignificant grass” and its slight smell remained for the hero from that beautiful, integral world of nature and the world of Asya’s soul, which merged into one 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 M. E. Saltykov-Shchedrin (chapter "On the root of the origin of the Foolovites")

The History of a City is the greatest satirical canvas-novel. This is a merciless denunciation of the entire system of government of tsarist Russia. The History of a City, completed in 1870, shows that the people in the post-reform period remained as disenfranchised as the officials were petty tyrants of the 1970s. differed from the pre-reform ones only in that they 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 are brought to their "logical end", exaggerated. All the inhabitants of Glupovo, both the mayors and the people, live in some sort of nightmare, where the appearance of a ruler with an organ instead of a head, cruel tin soldiers instead of living ones, an idiot who dreams of destroying everything on earth, a bungler who went “to catch a mosquito eight miles away”, etc., is quite understandable. These images are constructed in the same way as the images of folk fantasies, but they are scarier because they are more real. The monsters of Foolov's world are generated by this same world, nourished by its rotten soil. Therefore, the satirist does not confine himself in the "History of a City" to one ridicule of the rulers of the city, he bitterly laughs at the slavish patience of the people.

The chapter "On the Root of the Origin of the Foolovites" was supposed to show the tradition of the appearance of the favorite pastime of the mayors - cutting and collecting arrears, according to the writer's intention.

Initially, the Foolovites were called bunglers, because “they had the habit of banging their heads against everything that they met on the way. The wall comes across ─ they sting against the wall; They start praying to God - they rub the floor. This “grabbing” already speaks enough about the spiritual, innate qualities of the bunglers, who developed in them independently of the princes. With a bitter laugh, M. E. Saltykov-Shchedrin writes that “having gathered together the Kurales, the Gushcheeds and other tribes, the bunglers began to settle inside, with the obvious goal of achieving some kind of order.” “It started with the fact that Kolga was kneaded with a thick coat, then they dragged zhelemka to the bathhouse, then they boiled kosha in a purse” and performed other senseless deeds, because of which even two stupid found princes did not want to “volunteer” bunglers, calling them Foolovites. But the people could not arrange themselves in any way. We certainly needed a prince, "who will make soldiers with us, and build the prison, which follows, will build!" Here, the “historical people”, “carrying the Wartkins, Burcheevs, etc. on their shoulders”, with whom the writer, as he himself admitted, could not sympathize, are subjected to satirical ridicule.

The bunglers voluntarily surrendered to bondage, "sighed unrelentingly, cried out loudly," but "the drama had already taken place irrevocably." And the oppression and robbing of the Foolovites began, bringing them to revolts that were beneficial to the rulers. And the "historical times" for Glupov began with a cry: "I'll screw it up!" But despite the sharply critical attitude towards people's passivity, humility and long-suffering, the author in the "History of a City" in other chapters paints the image of the people with penetrating colors, this is especially evident in the 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 long-suffering of the people, he also reveals the process of growing anger of the oppressed, convincing readers that it cannot continue like this: either Russia will cease to exist, or there will come a turning point that will sweep away the Russian land from the face of the earth. the existing state system.

33. Folklore traditions in the “History of a City” by M.E. Saltykov‑Shchedrin (chapter “On the Root of the Origin of the Foolovites”)

The “History of a City” by M.E. Saltykov-Shchedrin was written in the form of a chronicler-archivist’s story about the past of the city of Glupov, but the writer was not interested in historical theme, he wrote about real Russia, about what worried him as an artist and citizen of his country. Having stylized the events of a hundred years ago, giving them features of the epoch of the 18th century, Saltykov-Shchedrin acts in different capacities: first, he narrates on behalf of the archivists, the compilers of the Foolovsky Chronicler, then on behalf of the author, who acts as a publisher and commentator of archival materials.

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

The novel opens with the chapter “Appeal to the Reader”, stylized as an old style, with which the writer introduces his readers to his goal: “to portray successively the mayors, to the city of Foolov from the Russian government at different times, set up”.

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 Tale of Igor's Campaign, a listing of well-known historians of the 19th century who have directly opposite views on the historical process. The prehistoric times of Foolov seem absurd and unreal, the actions of the peoples who lived in ancient times are far from conscious acts. That is why the Foolovites were called bunglers in the past, which in itself declares their innate essence.

Speaking about the attempts of the bunglers, having gathered together the tricksters, guinedes and other tribes, to settle down inside and achieve some kind of order, the writer cites many tales: they met, then they drove the pike from the eggs, ”etc.

Just like their actions, the desire of bunglers to get a prince is ridiculous. If in folk tales the heroes go in search of happiness, then these tribes need a ruler to “make a soldier and build a prison, as it should be.” Continuing to sneer at the bunglers, Saltykov-Shchedrin again resorts to folklore traditions: lexical repetitions, proverbs: “They searched, they searched for princes and almost got lost in three pines, but thanks to that, a blind-breed pedestrian happened to be here, who these three pines are like his five knew the fingers.

in the spirit folk tales“good fellows” walk around in search of the prince for three years and three days and find it only on the third attempt, passing “by a spruce forest and a birch tree, then more densely, then a carrier.” All these folklore traditions, combined with satire, create a unique style of the work, help the author to emphasize the absurdity, meaninglessness of Foolov's life.

But even in this chapter, M. E. Saltykov-Shchedrin finds an opportunity to pity the stupid people who voluntarily put a prince on their neck. He cites the full two verses of the famous folk song “Don’t make noise, mother green oak forest”, accompanying it with sad comments: “The longer the song flowed, the lower the heads of the bunglers drooped.”

The author resorts to the proverb genre when he talks about the candidates for the role of the landowner to the Foolovites: “Which of the two candidates should be given the advantage: whether the Orlovets, on the grounds that“ Orel and Kromy are the first thieves ”, or Shuyashen, on the grounds that he "was in St. Petersburg, drove on the ass, and immediately fell." Yes, government begins with thieves and fools and will be continued by them, but it is no coincidence that from the very beginning of their characterization, healthy folk wit sounds, which, but the author’s thoughts, will defeat the headless monsters of the Foolov world.

The idea that the long-suffering people will wake up and overcome difficulties, because they have not forgotten how to believe, love and hope, runs through the entire “History of a City”.

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

The work of N. S. 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 changing them 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 hopeless situation. This woman is depicted with great authorial sympathy: “by her kindness and simplicity of the heart”, “she rescued one high-society dandy out of trouble by laying her house for him, which was the entire property of the old woman and her property.” Then the writer will emphasize her exceptional honesty.

The court case initiated by the heroine will be resolved quickly and favorably for her. But the authorities will not move further than this. No one wants to get involved with a young man who behaves in an openly unscrupulous manner (“he is tired of all of us”), but remains unpunished, because “he had some kind of powerful relationship or property.” That is why they could not even hand him a court paper, advising the old woman to stop trying to get him to pay the debt, although they sympathized with her. Here is such a “little life” is portrayed by N. S. Leskov. There is no fierce condemnation of the helpless authorities, no dishonorable young man, no simple-hearted old woman who believes people only because she "has dreams" and has a premonition. But behind this situation, so simply and artlessly conveyed, there are serious and profound conclusions of the author. When reading this story, the question involuntarily arises: if neither the lower nor the higher authorities could resolve such a petty trial of not just an unanswered peasant, but a landowner, and not God knows with what significant persons, but with a young dandy from a noble family, then what Are the authorities good enough then? And what is it like for people to live with such lawlessness? The story is written about the post-reform period, and the writer shows that the essence state system 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 is the “genius Ivan Ivanovich” in this story. And N. S. Leskov ardently believed in the existence of such people, and it was with them that he linked his hopes for the revival of Russia, for its great future.

35. Russian reality in the story of N. S. Leskov "The Old Genius"

N. S. Leskov belongs to the generation of writers of the 60s–90s. XIX century, who passionately loved Russia, its talented people and actively opposed the oppression of freedom and the suppression of individual freedom. He created essays, novels, stories about fate ordinary people, about original historical figures, about abuses of power, outright predation. Other of his stories were cycles. Such are Christmas stories, quite rare in Russian literature XIX V. genre. These are “Christ Visiting the Archer”, “The Darner”, “A Little Mistake”, etc. The story “The Old Genius”, written in 1884, also belongs to them.

The action in it 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 lent him money and mortgaged a house for this, comes to the capital to get justice for him. Yes, it wasn't 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, settled this difficult matter. The narrator calls him "genius".

This story is preceded by an epigraph: "A genius has no years - he overcomes everything that stops ordinary minds." And in this story, the "genius" overcame what he could not do government. And after all, it was not about some omnipotent personality, it was just about a young windy man who belonged to one of the best families, who annoyed the authorities with his dishonesty. But the judiciary could not even hand him a paper for execution.

The author narrates about this in a simple, as it were, narrative manner, without clearly condemning anyone and without ridiculing. And “she met a sympathetic and merciful lawyer, and in court the decision was favorable for her at the beginning of the dispute,” and no one took payment from her, then suddenly it turns out in no way, “it was impossible to rein in” this deceiver because of some kind of “powerful connections” . Thus, N. S. Leskov focuses the reader's attention on the complete lack of rights of the individual in Russia.

But the peculiarity of Leskov's writing talent lies in the fact that he also saw the positive beginnings of Russian life, portrayed the rich talent of a Russian person, his depth and integrity. In the story “The Old Genius”, this light of good is carried by the heroine herself, “a woman of excellent 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 clever situation in which the debtor was simply forced to pay off.

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

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

In the story "After the Ball" by L. N. Tolstoy, written in the 90s. 19th 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.

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

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

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

The state of the protagonist in these two scenes is also in contrast, it can be expressed by the words: “I hugged the whole world at that time with my love” - and after the ball: “I was so ashamed ... I’m about to vomit with all the horror that entered in me from this spectacle.

An important place in the contrasted paintings is occupied by the image of the colonel. In a tall military man in an overcoat and cap, leading the punishment, Ivan Vasilievich does not immediately recognize the handsome, fresh, with sparkling eyes and a joyful smile, the father of his beloved Varenka, whom he had recently looked 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, short, weak soldier. By repeating these details, L. N. Tolstoy wants to show the sincerity of the colonel in two different situations. It would be easier for us to understand him if he pretended somewhere, tried 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 happened. Therefore, there are no conclusions at the end of the story. The talent of L. N. Tolstoy lies in the fact that he makes the reader think about the questions posed by the whole course of the story, the composition of the work.

The story of L. N. Tolstoy “After the Ball” develops the theme of “tearing off all and sundry masks” from the carefree, washed, festive life of some, contrasting it with 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 happens to him and to society. We are led to these reflections by the very composition of the story, built on the opposition of the pictures of the ball and the punishment of the runaway soldier, transmitted through the perception of the young man Ivan Vasilyevich. It is he who will have to understand “what is good and what is bad”, evaluate what he has seen and make a choice of his future fate.

The life of the young man developed safely and carefree, no "theories" and "circles" interested him or other young students close to him. But at the same time, there was nothing reprehensible in their enthusiasm for balls, skating, light revels. We are imbued with sincere sympathy for Ivan Vasilievich at the ball when we see him enchanted by the festive atmosphere of the dinner party, tenderly in love with Varenka. The words say about the enthusiastic, sympathetic soul of this person: “I was not me, but some kind of unearthly creature that knows no evil and is capable of only good”, “I hugged the whole world at that time with my love.”

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

IN living soul the young man was horrified by what he saw, he "was so ashamed" that he "lowered his eyes", "hurried to go home." Why didn’t he intervene 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 confused 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 failed to "get to the root" in his thoughts. But his conscience did not allow him to become a military man in his later life, because he could not deal with a person like this “according to the law”, to serve cruelty.

And the character of the colonel, this actually loving father, a pleasant person in society, has firmly entered distorted concepts of duty, honor, dignity, which allow trampling on 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 good right life. What terrible moral crippling must take place in the minds and hearts of such people…”

38. Why didn't Ivan Vasilyevich serve anywhere? (according to the story of L. N. Tolstoy "After the ball")

The composition of the work of L. N. Tolstoy “After the Ball” is a “story within a story”. The narrative begins with the words of Ivan Vasilyevich, who is briefly introduced by the author in the introduction. It's about moral values. 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 Vasilyevich is described as a "respected" person, 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 the serious issues of life.

At the ball, which he describes, Ivan Vasilievich was especially happy: he is in love with Varenka, who reciprocates his feelings, he is happy and "at that time he hugged the whole world with his love." 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 the runaway soldier, carried out under the supervision of Varenka's father, filled Ivan Vasilyevich's soul with unimaginable horror, almost physical anguish, reaching nausea. The execution itself was terrible, but the hero was also struck by the fact that it was led by the same dear colonel “with his ruddy face and white mustaches and sideburns,” whom Ivan Vasilyevich had just seen at the ball. The narrator, meeting eyes with Pyotr Vladislavovich, felt shame and embarrassment, which later turned into painful reflections about what he saw: “obviously, he (the colonel) knows something that I don’t know ... If I knew what he knows, I would understood what I saw, and it would not torment me.”

“If this was done with such confidence and recognized by everyone as necessary, then they must have known something that I did not know.”

But Ivan Vasilyevich could not understand the need for mockery of a person, humiliation of his dignity. And therefore “I could not enter the military service, as I wanted to before, and not only did not serve in the military, but did not serve anywhere and, as you see, was not good for anything,” 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 a soulless state machine.

What did this man, who had matured after that memorable morning, do anyway? The author does not give us a direct answer, but in the words of the listeners of Ivan Vasilyevich's story, there is recognition of his merits to those people whom he managed to help in life: “Well, we know 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")

The nature of the native country is an inexhaustible source of inspiration for poets, musicians and artists. All of them were aware of themselves as part of nature, "breathed the same life with nature," as F. I. Tyutchev said. He also owns other wonderful lines:

Not what you think, nature:

Not a cast, not a soulless face -

It has a soul, it 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. The poetic masterpieces of A. S. Pushkin, A. A. Fet, S. Nikitin, F. I. Tyutchev, M. Yu. Lermontov and many other authors reflected different seasons in generalized paintings (for example, “A sad time! Eyes of charm!”), And in their beautiful moments (“O first lily of the valley!”).

It cannot be said 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 consonance with his thoughts and feelings.

Here we have two “autumn” poems by M. Yu. Lermontov and F. I. Tyutchev: “Autumn” and “Autumn Evening”.

One of them, Lermontov's poem, paints, as it were, a generalized picture of the autumn season, which includes the landscape, the life of animals, and the mood of people. The defining words here are: “drooped”, “gloomy”, “does not like”, “hide”, “dim”. 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 account for almost a third of the independent parts of speech. In the first two lines, the use of three verbs in a row immediately gives the impression of an autumn wind, freshness.

The next picture is the opposite of the first: it is static: “Only in the forest did the spruce droop, They keep the greenery gloomy.” But the reception of personification revives her.

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

All living things meet autumn in their own way, and therefore “the brave beast is in a hurry to hide somewhere.” The epithet “brave” is interesting, to which M. Yu. Lermontov conveys admiration for the rational arrangement of the living world: after all, the animals skillfully 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 silver even under this dim light.

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

F. I. Tyutchev also managed to catch the “touching, mysterious charm” in the autumn evenings. This poet feels 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 sad orphan nature to descending storms, the moment of withering is stopped, the mysterious soul of the living world is depicted, suffering from the departure of the variegation of trees, foggy and quiet azure. Therefore, at the end of the poem, the parallel of this state of nature with the world of rational beings, meekly and bashfully enduring inevitable suffering, is so natural. The epithet "sinister" is noteworthy, as Tyutchev saw the brilliance of autumn leaves. This word stands out among other figurative definitions of the poem: “quiet azure”, “sadly orphaned land”, “meek smile”. The above epithets leave the impression of a fading 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 "sinister."

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

40. Spring in the lyrics of Russian poets (based on the poems by A. A. Fet “The First Lily of the Valley” and A. N. Maikov “The Field Is Shimmering with Flowers”)

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

A. N. Maikov was also a good artist, so he liked 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 awakened earth, which comes 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 described in A. N. Maikov’s poem “After it ripples with flowers.”

The poetic space here is devoid of images, it is all flooded with light, even the singing of the larks seems to dissolve in the “glow of noon”. 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 surrounding world in a moment of delight:

But, listening to them, eyes to the sky,

Smiling, I turn.

An elevated, solemn mood is given to the poem by the vocabulary: “shaken”, “abyss”, “look”, “amuse”, “listen”.

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, the bell in the flower garden is ringing subtly, the fluffy spring willow is spreading its branches, and the “first lily of the valley” “begs the sun’s rays from under the snow.” Of course, the richest in such events can again be spring with its desire for life, joy. Therefore, in the poem "The First Lily of the Valley" there are so many exclamatory sentences. 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:

O first lily of the valley! From under the snow

You ask for sunbeams;

What a virgin bliss

In your fragrant purity!

Such verses are addressed not 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 her -

And a timid sigh is fragrant

The excess of life is young.

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

Like the first ray of spring is bright!

What dreams descend in it!

This also explains the poet's violation of the traditional conventions of metaphorical language, all the boundaries between man and nature are eliminated: the poem is about both the lily of the valley and the maiden.

Another feature of Fetov's lyrics is the musicality, which is manifested in the scoring 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”, “maiden - virgin”, “sighs - sigh”, as well as anaphoras: “how”, “what”, synonyms: “fragrant - fragrant ".

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

41. The inner world of the hero in A.P. Chekhov's story "About Love"

A.P. Chekhov's story "About Love" is on a par with his other two stories "The Man in the Case" and "Gooseberry", called the "little trilogy". In these works, the writer judges people with truncated life horizons, indifferent to the wealth and beauty of the world of God, who have limited themselves to the circle of petty, philistine interests.

In the story "About Love" we read about how a living, sincere, mysterious feeling is destroyed by the loving hearts themselves, committed to a "case" existence. The story is told on behalf of Pavel Konstantinovich Alekhine, a Russian intellectual, decent, smart person living alone and joyless. The story of his love for a married lady, Anna Alekseevna Luganovich, was told to his friends to confirm his idea that we, Russian people, “when we love, we do not stop asking ourselves questions: is it honest or dishonest, smart or stupid, what will this love lead to, and etc. It’s good or not, I don’t know, but what it interferes with, doesn’t satisfy, irritates - 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. Alekhin, by his inclinations, is an armchair scientist, forced to lead the everyday life of a prosperous landowner, taking away all his free time, and at the same time he experienced boredom and disgust. Love for a young woman made him even more unhappy. She only affirmed the hero in the impossibility of breaking with a bleak existence: “Where could I take her? Another thing, if I had a beautiful, interesting life if I had fought for the liberation of my homeland, or if I had been a famous scientist, actor, painter, otherwise, from one ordinary, everyday situation, I would have had to drag her into another one of the same or even more everyday one. The hero understands that in the life to which he has condemned himself, there is no place for the great mystery, which is love. The inertia of the existence of Alekhine and Anna Alekseevna kept 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 deceitful it was" all that prevented them from loving. But insight is a little late and the turn of righteous deeds does not come after the spoken words.

The story is built as a monologue of the protagonist, but there is an introduction to it and an ending that allows the author to give his assessment of this story. The landscape sketch in the frame of the story is noteworthy: Alekhine begins his narration in bleak rainy weather, when one gray sky was visible through the windows. This capacious Chekhovian detail is a symbol of the gray, dull life that the hero leads, and of 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 the sadness from what they heard, purification comes to their soul, which allows A.P. Chekhov to hope that healthy aspirations in thoughts and the feelings of the Russian people will still be stronger than a bloodless and boring existence.

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

In the story of Maxim Gorky "Chelkash" there are two main characters - Grishka Chelkash - an old pickled sea wolf, an inveterate drunkard and a clever thief, and Gavrila - a simple village guy, a poor man, like Chelkash.

Initially, the image of Chelkash was perceived by me as negative: a drunkard, a thief, all ragged, bones covered with brown leather, a cold predatory look, a gait like the flight of a bird of prey. This description causes some disgust, hostility. But Gavrila, on the contrary, is broad-shouldered, stocky, tanned, with large 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 dragged Gavrila into his affairs, Chelkash can be safely called a negative hero). But in the course of their common craft, a negative opinion is formed about Gavril: he is a coward, showed weakness: he sobbed, cried, and this causes hostility towards the guy. There is a kind of role reversal: Chelkash turns from a negative hero into a positive one, and Gavrila is vice versa. Here are visible 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 cleansed him of worldly problems, he became better at the sea, thought a lot, philosophized. Gavrila is deprived of all this, he loved the land, peasant life. However, Chelkash is also connected with the earth, connected with the sweat of many generations, connected with memories of childhood. Gavrila engendered 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 a complete stranger all the money, even if it was earned by dishonest labor, because of which he risked his life and freedom. Moreover, Gavrila strongly hurt 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, he almost killed a man for money, he is ready to sell his soul for an extra penny. Chelkash, despite his wild way of life, the fact that he is a thief and a reveler, cut off from everything native, has not lost his sense of reason, his sense of conscience. He is truly glad that he has not become and will never become greedy, low, bereft of himself because of money, ready to choke himself because of a penny.

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

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 internal 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 cloudy”, “the sun looks through a gray veil”, “waves chained in granite”, “foamed, polluted with various rubbish”), this already tunes in a certain way, makes you think, be alert, be alert.

These pictures are complemented by sounds: “the ringing of anchor chains”, “the rumble of wagons”, “the metallic scream of iron sheets”. All these details, as it were, warn us of an impending conflict. And against this background, 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 - "tousled black hair with gray hair and a drunken, sharp, predatory face", "cold gray eyes", this causes some disdain and disgust for the hero. Against the same background, we see a young, stocky guy - Gavrila. An acquaintance is established between them, Chelkash invites this guy to take part in the case - in theft, but Gavrila does not yet know what kind of business it is.

Night, silence, clouds floating across the sky, a 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 calm lies internal tension. As this tension develops from the inner into the outer, Gorky shows how the sea awakens, how the waves rustle, and this noise is terrible. This fear is also born in Gavrila's soul. Chelkash left Gavrila alone, and he himself went for "booty". And again everything was quiet, it was cold, dark, ominous, and most importantly, everything was silent. And from this deaf silence it became eerie. Gavrila felt crushed by this silence, and although he despised Chelkash, he was nevertheless 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 overcome all obstacles and successfully reach the shore. Landscape sketches reflect internal state 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 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. The trickles of rain weaved a whole network of threads of water, in my opinion, M. Gorky wanted to show that Gavrila was entangled in the network of his own thoughts: he wanted to get money, and not just his share, but all the “earned” money, 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 would be 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. According to these descriptions, it is easier to understand the nature of the characters, what they have in mind, one gets an idea of ​​​​what will happen next, thanks to them one feels the approaching conflict, the peak and the denouement of the conflict.

44. Chelkash and Gavrila (according to M. Gorky's story "Chelkash")

Gorky’s early work (90s of the 19th century) was created under the sign of “gathering” the truly human: “I got to know people very early and from my youth I began to invent Man in order to satisfy my thirst for beauty. Wise people ... convinced me that I had ill-invented consolation for myself. Then I again went to the people and - it's so understandable! - again from them I return to the Man, ”Gorky wrote at that 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, who served as the prototype of Chelkash. Gorky met this man in a hospital in the city of Nikolaev (Chersonese). “I was amazed at the harmless mockery of the Odessa tramp, who told me the incident described by me 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 ... "

There are two main characters in the story: Chelkash and Gavrila. Both tramps, poor, both village peasants, of 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 large blue eyes, looking trustingly and good-naturedly. With psychological accuracy, the guy defined Chelkash's "profession" - "we cast nets along dry shores and along barns, along lashes."

Gorky contrasts Chelkash with Gavril. Chelkash at first “despised”, and then, “hated” the guy for his youth, “clear blue eyes”, healthy tanned face, short strong arms, because he has his own house in the village, that he wants to start a family, but most importantly it seems to me that Gavrila has not yet known the life that this experienced man leads, because he dares to love freedom, which he does not know the price of, and which he does not need.

Chelkash seethed and trembled 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 case of such a plan. Chelkash was calm as always, he was amused by the guy's fear, and he enjoyed it and reveled in what he, Chelkash, is a formidable person.

Chelkash rowed slowly and evenly, Gavrila - quickly, nervously. It speaks of the resilience of character. Gavrila is a beginner, so the first trip is so hard for him, for Chelkash this is another trip, 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 him. However, on the way back, a conversation began, 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 surfaced. The conversation fell silent, but Chelkash even from Gavrila's silence blew the countryside. These memories made me feel lonely, torn out, thrown out of that life.

The climax of the story is the scene of a fight over money. Greed attacked Gavrila, he became terrible, 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 - 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, of course, 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 wild life, steals, would never act 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 worth nothing. 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 famous work Ivan Turgenev "Asya" Through this story, I will try to express my personal attitude to 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 attitude to Asya;
• conclusions.

Features of the origin of the main character of the story

I think that the origin of Asya significantly 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, Asya's father took up the upbringing, in connection with which the girl's soul knew proud and distrustful feelings. She was controversial and playful towards all people. As for the girl's attitude to everything that exists, at first glance, she looked at him with interest, but in fact she didn’t delve into or peer into anything. However, she had a strange predilection - she made acquaintances with those who were lower in class than herself.

Personal attitude to Asa

I believe that Asya had a wild, original disposition, she was smart, emotional and impulsive. 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 memorablely. Asya, in fact, was timid from birth, but she deliberately behaved loudly and sometimes not quite appropriately. She was not afraid of anything and in the name of love she could move mountains. Asya had the honor and never complained about anything. She wanted to be remembered after her death. Remember 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 insanely playful and impudent. She didn't really care what others had to say about her. Sometimes she behaved not quite naturally. She was sincere, honest and open. Asya was a truly original, unique girl. These are still to be found.

Composition

First of all, it is worth noting that I. S. Turgenev’s story “Asya” tells how the acquaintance of the protagonist, Mr. N. N., with the Gagins develops into a love story, which turned out to be a source of both sweet romantic languor and bitter torment for the hero , then, over the years, which lost their sharpness, but doomed the hero to the fate of a bean.
Interesting is the fact that the author refused the name of the hero, and there is no portrait of him. There are different explanations for this, but one thing is certain: I. S. Turgenev transfers 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 evokes sympathy among readers and 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 real love, but only entertainment.
And here is the 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 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 unease, which grows into an incomprehensible anxiety; then a jealous suspicion that the Gagins are not relatives.

So, two weeks of daily meetings have passed. N. N. is more and more upset by jealous suspicions, and although he was not fully aware of his love for Asa, she gradually took possession of his heart. He is overwhelmed during this period with 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 realize 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 brother Asya. Having learned the truth about these people, he instantly regains his lost balance and defines his emotional state in this way: “I felt some kind of sweetness - it was sweetness in my heart: it was as if they secretly poured honey into me ...” The landscape sketch in chapter 10 helps to understand the psychological state of the hero in this significant day, becoming the "landscape" of the soul. It is at this moment of merging with nature that a new turn takes place in the inner world of the hero: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya. But the hero prefers to give himself thoughtlessly to incoming impressions: "I'm not only about the future, I didn't think about tomorrow, I felt very good." This indicates that at that moment N.N. was ready only to enjoy romantic contemplation, he did not feel in himself that it removes prudence and caution, while Asya had already “grown wings”, a deep feeling came to her and irresistible. Therefore, in the meeting scene, N.N. seems to be trying to hide behind reproaches and loud exclamations his unpreparedness for a reciprocal feeling, his inability to surrender to love, which so slowly matures in his contemplative nature.
In my opinion, having parted with Asya after an unsuccessful explanation, N.N. still does not know what awaits him in the future "the loneliness of a familyless bean", he hopes for "tomorrow's happiness", not knowing that "happiness has no tomorrow ... he has a present - and that is not a day, but an instant. N.N.'s love for Asya, obeying a whimsical game of chance or a fatal predetermination of fate, will flare up later, when nothing can be corrected. The hero will be punished for not knowing love, for doubting it. “And happiness was so close, so possible…”

Other writings on this work

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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 digression into life, or rather the love of Ivan Sergeevich.

Eternal friend of Pauline Viardot

The relationship between Pauline Viardot and Ivan Sergeevich lasted a long 40 years. It was a love story that settled only in the heart of one man, Turgenev, and the woman passionately revered by him 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 of love, a killer of the happiness of girls who fell recklessly in love with Ivan Sergeevich.

It is worth saying that the tragic relationship with Viardot was not new to him. Still quite young Ivan at the age of eighteen fell in love with his daughter Katenka. A sweet angelic creature, which the girl seemed at first glance, in fact, was not. She had lengthy meetings with the chief village ladies' man. By an evil irony, Sergei Nikolaevich Turgenev, the writer's father, won the girl's heart.

However, not only the writer's heart was broken, he himself more than once rejected women who loved him. After all, until the end of his days, he adored Pauline Viardot.

Characteristics of Asya in the story "Asya". Type of Turgenev girl

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

The portrait characteristic of Asya, found on the pages of the story, is as follows.

As can be seen from the above lines, Asya had an atypical beauty: her boyish appearance combined short large eyes, fringed with long eyelashes, and an unusually slender figure.

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

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

Love, like revolution, tests the heroes and their feelings for stamina 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 bring her up in severity. However, after the death of Tatyana, 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 into her image. She is controversial and playful in dealing with all people. If you take her interest in everything around, then you can understand that the girl shows it a little unnaturally. Since she looks at everything with curiosity, however, in fact, she does not carefully delve into or peer into anything.

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

moment of spiritual awakening

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

The hero and author of the story, having met 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 at his life. N.N. understands how false his existence was before the moment he met Asya: the time spent on travel now seems to him an unaffordable luxury.

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

Love also helps to reveal Asya's character. She begins to realize herself as a person. Now she cannot get by with the usual reading of books from which she drew knowledge about "true" love. Asya opens up to feelings, 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 hero's attitude towards 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 form of a frightened, but beautiful bird:

The relationship between Asya and Mr. N.N.

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

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

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

Asya dreams of a hero who will become for her the embodiment of happiness, love and thought. A hero who can meekly 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 was a well-born young lady, and not some kind of daughter of the maid Tatyana. This behavior, unusual for her, influenced the first impression formed by Mr. N.N.

She then falls in love with N.N. and begins to expect from him not just actions, but an answer. The answer to her question: "What to do?" The heroine dreams of a feat, but she never expects it from her lover.

But why? The answer is simple: Mr. N.N. not endowed with spiritual wealth inherent in Asa. His image is rather meager and a little dull, although not without a touch of edification. This is how he appears before us according to Chernyshevsky. Turgenev himself sees him as a man with a trembling, tormented soul.

"Asya", characteristic of N.N.

Souls, heart impulses, thoughts about the meaning of life were unfamiliar to the hero of the story N.N., on behalf of whom the story is being told. 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 the full embodiment of the bad hero of the story. Despite everything, he did not lose the ability to understand and separate good from evil. He is quite curious and inquisitive. The purpose of his journey is not a desire to know the world, but a dream to know many new people and faces. N.N. proud enough, but the feeling of rejected love is not alien to him: 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 strange girl, therefore she is afraid to face unexpected turns of her character in the future. In addition, he sees marriage as an unbearable burden, which is based on responsibility for someone else's fate and life.

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

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

The writer was busy writing this work for several months (from July to November 1857). He wrote heavily and slowly, because illness and fatigue were already making themselves felt. Who is the prototype of Asya is not exactly known. Among the versions, the point of view that the author described his illegitimate daughter prevails. Also, the fate of his sister on the paternal side could be reflected in the image (her mother was a peasant woman). Based on these examples, Turgenev knew well how a teenager who found himself in such a situation felt, and reflected his observations in the story, showing a very delicate social conflict, to 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 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 could 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 the focus of the author. His main priority was the disclosure of the ideal female image, called "Turgenev's young lady." To see and evaluate a woman, according to the writer, is possible only through the prism of the feeling that she experiences. Only in it, its mysterious and incomprehensible nature is fully revealed. Therefore, Asya experiences the shock of his first love and experiences it with the dignity inherent in an adult and mature lady, and not the naive child she was before meeting N.N.

This reincarnation shows Turgenev. At the end of the book, we say goodbye to Asya the child and get acquainted with Anna Gagina, a sincere, strong and self-aware woman who does not agree to compromises: when N.N. afraid to surrender to the feeling completely and immediately recognize it, she, overcoming 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 short story?

Of course, "Asya" is a story. The story is never divided into chapters, and its volume is much smaller. The segment from the life of the characters depicted in the book is smaller than in the novel, but longer than in the smallest form of prose. Turgenev also held 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, it is the sequence of episodes that becomes the subject of the image in it, in which cause-and-effect relationships are revealed, which lead the reader to realize the meaning of the finale of the work. This is what 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 to him, he is afraid to take her feelings seriously, and in the end all this leads to a break. 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 piece about?

The main character is a young man, on whose behalf the story is being told. These are the memories of an already mature man about the events of his youth. In "Ace" a middle-aged secular man 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 the exposition of the story. Place and time of action - "a small German town Z. near the Rhine (river)". The writer has in mind 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, stipulating that the events described took place 20 years ago. Accordingly, they took place in June 1837 (N.N. himself reports on the month 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 fell in love for the first time, 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 Tatyana. She is very changeable and fickle: either she laughs all day long, or she walks gloomier than a cloud. The reason for this mood lies in the difficult history of the girl: she is the illegitimate sister of Gagin. In high society, she feels like a stranger, as if unworthy of the honor that she has been given. Thoughts about her future situation constantly weigh on her, so Anna has a difficult character. But, in the end, she, like Tatiana from "Eugene Onegin", decides to confess her love to N.N. ridicule. Asya, having heard a reproach instead of a confession, runs away. A N.N. understands how dear she is to him, and decides to ask for her hand the next day. But it's too late, as the next morning he finds out that the Gagins have left, leaving him a note:

Goodbye, we won't see each other again. I'm not leaving out of pride - no, I can't do otherwise. Yesterday, when I was crying in front of you, if you had said one word to me, just one word, I would have stayed. You didn't say it. Apparently, it's better this way ... Goodbye forever!

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 subtly sensitive girl who is capable of true love, but does not accept cowardice and weakness of character. This is how her brother described her: “Pride developed in her strongly, distrust 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 proud of her. She grew up in nature on the estate, studied at the boarding school. At first she was raised by her mother - a maid in her father's house. After her death, the master took the girl to him. 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 matured yet, so she fools around 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 sought to attract the attention of a gentleman, but her intentions were absolutely sincere. She even fell ill with a fever from a feeling that overwhelmed her heart. From her further actions and words, we can conclude that she is a strong and strong-willed woman, capable of sacrifice for the sake of honor. Turgenev himself outlined her description: “The girl whom he called his sister seemed to me very pretty at first sight. There was something of her own, special, in the make-up of her swarthy, round face, with a small, thin nose, almost childish cheeks, and black, bright 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 narrator who, 20 years after the event described, takes up a pen to ease his soul. He can never forget his lost love. He appears before us as a selfish and idle rich young man who travels from nothing to do. He is lonely and afraid of his loneliness, because, by his own admission, he loves to be in the crowd and look at people. At the same time, he does not want to get acquainted with the Russians, apparently, he is afraid of disturbing his peace. He ironically remarks that "he considered it his duty to indulge in sadness and loneliness for a while." This desire to show off even in front of himself reveals in him the weaknesses of nature: he is insincere, false, superficial, looking for an excuse for his idleness in fictitious and far-fetched suffering. It is impossible not to note his impressionability: thoughts about his homeland angered him, a meeting with Anna made him feel happy. Main character educated and noble, lives "as you want", and he is characterized by inconstancy. 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, which is why he could not understand Asya's behavior for so long. Love for her revealed in him not the most best qualities: 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 seethe in him; she glowed quiet light. He was very nice and smart, but I could not imagine what would become of him as soon as he matured. The hero is very kind and sympathetic. He honored and respected the family, because he honestly fulfilled the last will of his father, and loved his sister like his own. Anna is very dear to him, so he sacrifices friendship for her peace of mind and leaves N.N., taking the heroine away. In general, he willingly sacrifices his interests for the sake of others, because in order to raise his sister, he resigns and leaves his homeland. Other characters in his description they always look positive, he finds an excuse for all of them: both the secretive father and the compliant maid, masterful 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 St. Petersburg, Asya's mother (Tatyana Vasilyevna is a proud and impregnable woman), Yakov (the butler of Gagin the elder) . The description of the characters given by the author allows a deeper understanding of the story "Asya" and the realities of the era that became its basis.

Subject

1. Theme of love. Ivan Sergeevich Turgenev wrote many stories about this. For him, feeling is a test of the souls of heroes: “No, love is one of those passions that breaks our “I”, makes us forget about ourselves and our interests,” the writer said. Only real man can truly love. However, the tragedy is that many people do not cope with this test, and it takes two to love. When one fails to truly love, the other undeservedly remains alone. So it happened in this book: N.N. could not pass the test of love, but Anna, although she coped with it, still could not stand the insult of neglect and left forever.
2. The theme of the superfluous person in the story "Asya" also occupies an important place. The main character can not find a place in the world. His idle and aimless life abroad is proof of this. He wanders around in search of who knows what, because he cannot apply his skills and knowledge in the real case. His failure is also manifested in love, because he is afraid of the direct recognition of the girl, 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 prompted him to travel, 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 with memories of the time when he was young and in love.

Issues

• The problem of moral choice. The hero does not know what to do: 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? Besides, she had already taken away his choice by telling her brother. He was annoyed that the girl took all the initiative, and therefore accused her of being too frank with Gagin. N.N. was confused, and even not experienced enough to unravel the subtle nature of his beloved, so it is not surprising that his choice turned out to be wrong.
• Problems of feeling and duty. Often these principles are opposed to each other. Asya loves N.N., but after his hesitation and reproaches, she realizes that he is not sure of his feelings. The duty of honor tells her to leave and not see him again, although her heart rebels and asks to give her lover another chance. However, her brother is also 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 badly children live, 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's studies in a boarding school, where all the girls treated her with disdain because of her history.
• The problem of transition. Asya at the time of the events described is only 17 years old, she has not yet formed as a person, so her behavior is so unpredictable and eccentric. It is very difficult for a brother to deal with her, because he does not yet have experience in the parental field. Yes 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. she is afraid of serious feelings, therefore 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 first encounters the cruel realities of life. The conclusions from this collision are the main idea of ​​the story "Asya". The girl went through the test of love, but many of her illusions were broken in it. In indecision N.N. she read the sentence to herself, which her brother had mentioned even earlier in a conversation with a friend: in this position she cannot count on good game. Few will agree to marry her, no matter how beautiful or funny 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 more selective in boyfriends and not to trust them with her heart secrets.

Love in this case opens up 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 characters in Russian literature was greatly impoverished from a happy ending. In tragedy, 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 show cowardice, tactlessness and indecision.

This story from the lips of a mature man is so instructive that it leaves no doubt that the hero recalls this episode of his life as an edification to himself and the listener. Now, after so many years, he understands that he himself missed the love of his life, he himself destroyed this sublime and sincere relationship. The narrator encourages the reader to be more attentive and more determined than he is, 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 love is, which does not give a second attempt.

What does the story teach?

Turgenev, showing the idle and empty lifestyle of his hero, says that the carelessness and aimlessness 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: “Then it never occurred to me that a person is not a plant and he cannot flourish for a long time.” He realizes with bitterness that this “blooming” did not bear fruit. Thus, morality in the story "Asya" reveals to us the true meaning of being - you need to live for the sake of the goal, for the sake of loved ones, for the sake of creativity and creation, no matter what it is expressed in, and not for the sake of oneself alone. 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 "Ace" is the assertion that one should not be afraid of one's feelings. The heroine gave herself completely to them, burned herself with her first love, but she learned a lot about life and about the person to whom she wanted to devote it. Now she will be more attentive to people, will 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. So do not be afraid of the 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 they singled out a new type of heroine - the “Tugenev young lady”. Chernyshevsky, Turgenev's ideological opponent, studied the image of the protagonist with particular attention. He dedicated an ironic article to him called “Russian man on rendez-vous. Reflections after reading the story "Asya". In it, he condemns not only the moral imperfection of the character, but also the poverty of the whole social group to which it belongs. The idleness and selfishness of noble offspring destroys 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 warm feeling from his chest and watches them with tender participation, with painful trepidation, he himself suffers and rejoices along with the faces created by him, he himself is carried away by the poetic atmosphere that he loves always surround them...

The writer himself speaks very warmly about his creation: "I wrote it very passionately, 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 editors of Sovremennik in the following terms:

I read the proofs, the proofreader, and, moreover, Chernyshevsky. If there are still mistakes, it means that we did everything we could, and we can’t 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 most important critic. In a letter to the author, he praises him new job, calling it "a frank step towards nature and poetry".

In a personal letter dated January 16, 1858, E. Ya. Kolbasin (a critic who positively assesses Turgenev’s work) informed the writer: “Now I have come from the Tyutchevs, where there was a dispute about Asya. And I like it. They find that Asya's face is strained, 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. Nekrasov, editor-in-chief of the Sovremennik magazine, suggested changing the scene of the explanation of the main characters, believing that it would belittle the image of N.N. too much:

There is only one remark, personally mine, and that is unimportant: in the scene of a meeting at the knees, the hero unexpectedly showed an unnecessary rudeness of nature, which you do not expect from him, bursting into reproaches: they should have been softened and reduced, I wanted to, but I 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 rudeness 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 “Tales and Stories of I. S. Turgenev”, published in “Notes of the Fatherland”, contrasted the “sick personality of a Russian person of the 19th century” with an honest worker - a bourgeois businessman. He was also extremely worried about the historical fate of the "superfluous people", posed by the author of Asya.

The story is clearly not for everyone. After its publication, reproaches rained down on the writer. For example, reviewer V.P. 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 people. As a lyricist, Turgenev can only express well what he experienced ... ". The famous poet, the addressee of the letter, was in solidarity with his friend and recognized the image of the main character as far-fetched and lifeless.

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

Later, the story was not forgotten and often appeared in the statements of famous public figures 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"

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

The story "Asya" I. S. Turgenev began to write 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 invent with interest who they were and why they lived in this house. The reliability of this fact is proved by the letters of the writer and the chronology of work left by him.

Interesting facts will best tell about the creation of Asya:

1. Poor health of the writer. Although he wrote the story with inspiration, but pain 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 take 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. A distinctive feature of 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 characters is described with the help of psychologism techniques. However, in the story "Asya" there are features of romanticism. This can be seen in 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 each work, 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, the reader is pleased and interested in reading the book, as the text is built into a single whole.

The composition of the story "Asya" is very concisely built.

1. I exposition. Memoirs of N. N. about his youth and life in Germany.
2. II-VIII Tie. Acquaintance with Gagin and his sister Asya. Rapprochement of N. N. with them. Asya's childhood story. The first serious conversation between N.N. and the heroine. The heroine is no longer afraid of him and begins to trust him.
3. X-XV Development of actions. Rapprochement of Asya and N. N. The experience of the girl and the confession to Gagin about her love for the narrator. A note from Asya.
4. XVI-XXI The climax of the action and an instant denouement. N.N.'s date with Asya, which ended in parting. Unexpected departure of heroes from the city.
5. XXII Epilogue. N.N.'s reflections on life and happiness. Regret for a missed moment.

essence

The narrator N. N. shares his memories of the past days of his carefree youth. He traveled abroad and observed people with rapture. No purpose or 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. N.N.'s heart was broken by a young widow who exchanged the narrator for a lieutenant.

The location of the city in which the narrator settled was excellent.

One day, N.N. got to the commercial, where students had fun. There he accidentally heard a conversation between two Russians and accidentally met them. It turned out to be the Gagin family. Elder brother and younger sister Asya, seventeen years old. After a short conversation, they invited the narrator to visit them, in 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 really happy.

The next day, Gagin came to his house and woke him up with the sound of a stick, after which they drank coffee and talked about what worries everyone. N. N. told about unhappy love, and his interlocutor 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. Now she is tense, then 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 he had ever seen. Sometimes it was pale, sometimes it hid a smile.

Once after dinner, Gagin accompanied N.N. to the boat so that he would go home. On the way, they made a detour to the house of an elderly lady, 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. He began to be overcome by homesickness. Before going to sleep, he thought about Asa, calling her a capricious girl in his head. Also, N.N. was 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. N.N. understood that the girl attracted him, even when she was angry. One evening, he overheard a conversation between Asya and her brother. Sitting in the gazebo, the girl confessed her eternal love to Gagin. With bitterness in his heart, N.N. went home. He considered that he was brazenly 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 N.N.'s surprise when he found out the whole truth. Gagin said that he met Asya when she was about nine years old. She was his father's daughter and a maid. Later, the girl became an orphan, and he took her to him. After N.N. found out the whole truth, his heart became light. To some extent, he understood Asya, her anxiety and childish naivety. His beginning was attracted by her soul. After talking with Gagin, N.N. went for a walk with Asya. For the first time, she was not afraid to tell something and ask questions. N. N. begins to notice behind him that he is not up to 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 flustered. She talked about death and asked strange questions. One day, 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 excited Gagin came to him. He reported that Asya had a fever during the night. She confessed to her brother that she was in love with N.N. and wanted to leave the city. The narrator was puzzled and told Gagin about the note he had received from Asya. He realized that he was not marrying a seventeen-year-old girl, and he needed to end this immediately. Having gone to the appointed place, N.N. again met the boy, who had previously handed over a note from Asya. He said that the girl had changed the meeting place and was waiting for him at Frau Luisi's house in an hour and a half. 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 Luise escorted him to the third floor, where Asya was already sitting. Addressing her by her first name and patronymic, N.N. saw her 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 Gagina and their conversation. He began to blame Asya for telling her brother about her feelings, and because of this, they need to immediately end the relationship. The girl silently listened to him, but, unable to stand it, fell to her knees and wept bitterly. N.N. 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 her. 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.

N. N. felt unbearable grief and anger at himself. He decided to find Asya at all costs and never let go again in his life. When he was walking home to pack his things and follow 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 just 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.

N.N. 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.

Main characters and their characteristics

• Anna Gagina (Asia) is the main character of the story of the same name. The description of Asya is given by the author: she is a swarthy girl with short black hair. She was seventeen years old and, due to her age, was not fully developed, but had a special grace in her movements. At the same time, Asya never sat idle. She was constantly moving, humming something and laughing out loud. It was hard not to notice children's antics in Asya's behavior, sometimes they were even indecent. Throughout the work, Turgenev reveals her image gradually. At first, Asya seems strange and aloof to us, but later we learn her fate. The young girl does not know how to be in society at all, because she grew up surrounded by peasants. She is ashamed of 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 precisely because Asya is endowed with these qualities that she rushes headlong into the pool of love. But due to the indecision of N.N., the girl could not find true happiness. Turgenev's attitude towards Asya is reverent and tender. Reading the work, you notice with what love he describes it. The writer endowed her with exceptionally positive qualities.
• Gagin - Asya's brother. A young man with a cap on his head and a wide jacket. So, 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 doesn't 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 a traditional type of amateur in all spheres of life.
• N. N.- the one thanks to whom readers get acquainted with Turgenevskaya Asya. The narrator tells about his past days when he was twenty-five years old. Carefree and young, he traveled abroad. This is a person who loves to be in the crowd and watch people, faces, their laughter and conversations. This calmed him down. N.N. was not the one who thinks about life, and in general about tomorrow. At the moment of the last meeting, he behaves aloofly and blames only Asya for all the problems, and this completes the image of N.N. The 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 works of Turgenev. Love for Ivan Sergeevich is not a simple feeling. In his opinion, this is an 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 about the "unrealizability of 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 in the performance of 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. One can feel the admiration of the author before her mighty power. Also, the landscape carries an emotional load. In order to create a romantic and calm atmosphere, Turgenev specially placed his heroes in a quiet town in Germany. Detailed description nature and experiences of the characters makes one 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 had not been afraid to show his feelings in time. The separation was entirely 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 has 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. Russia motif. At the beginning of the work, when N.N. was not thinking about anything and was heading home, he was struck by a smell that was rare for Germany. Next to the road, he saw a hemp patch. The smell was familiar to him and reminded him of his homeland. Suddenly for himself, he was pierced by longing for native land. There was a desire to return back in order to walk around the Russian expanses again and enjoy this air. N. N. 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 increased the hero's attraction to her. This passage contains the personal experiences of I. S. Turgenev. Although he lived abroad, the writer was still overcome by homesickness.
2. The tragedy of Asya lies primarily in its origin. The girl does not know how to behave in society at all and is shy in communication with strangers. Although the main tragedy of the story is still that Asya allowed herself to fall in love with someone who could not give her the feelings that she deserves. A young, sincere and proud girl could not suppress her quivering love and affection. The tragedy of Asya is connected with the theme of the superfluous person in the works of Turgenev. N.N. was a carefree and not purposeful young man. Because of the fear of becoming happy, he made the main character unhappy.

The problematics 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 not normal, and the child suffers the most from this. Society is not ready to accept such unions, so do not condemn children to non-recognition and alienation.
• Connected with this transitional age problem. In fact, Asya is still a teenager, she is only seventeen years old, and her behavior is not always clear to N.N. Turgenev shows that she is still very young and not formed as a person, so she took a rather ordinary and stupid person for her ideal.
• The problem of cowardice and moral choice is also prominent in the story. The protagonist made a mistake because of the fear of taking a decisive action, 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 depict the inner world of his characters than their actions. The psychology of the book is much more important than the action. Depicting the characters, the writer reflected on the thirst for what forms them. Therefore, the meaning of the work can be expressed by the phrase: "Happiness has no tomorrow." N.N. lived in anticipation of him, unconsciously searched for him on his travels, but, having come across him face to face, he lost forever, smugly believing that tomorrow he would have time to return him. But the essence of happiness is transience and fragility - one has only to miss it, it will disappear forever, and there will be no "tomorrow".

The main idea of ​​Turgenev is undeniable, but nevertheless, we are once again convinced of its correctness by the tragedy of first love, which is often accompanied by unrealizable illusions and dramatic turns. The writer clearly shows how N.N.'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 really is. He does not want to show this feeling only through the prism of something beautiful. It is more important for him to portray, though harsh, but the reality of life. 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 thanks to the fact that Asya has known 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 be silent about what is really important to say. The narrator N.N. could not confess to Asya that he loves 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 the read.

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

Artistic details

The role of the 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 certain role. Either romantic or 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 N.N.’s “love”. The man enjoys simulated longing, although his soul has already been consoled and blossomed, like the blossoming scenery of a story. Or the seventh chapter, where the narrator is depressed because of the overheard conversation between Asya and Gagin. N. N. finds solace in the beauty of nature.

Music. With the help of music, the writer reveals aspects of his characters that were previously hidden. Reading the story, a person may not immediately pay attention to its significance. For the first time we “hear” music when N. N. meets Asya and her brother. Next important point is the mention of Lanner's waltz in the second chapter, which is an important detail of the story. N.N. heard his sounds when he returned home. Later, under the same waltz, he circled with Asya in a dance. In this episode, we see how Turgenev again reveals the girl in a new way. She waltzed beautifully. This moment is significant, as we notice that N. N. is not indifferent to the heroine. The author uses waltz sounds for the second time for a reason. He appears precisely at a significant, turning point for lovers. At the end of the story, the music stops and does not reappear.

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. Studying personality through psychological tricks achieved by realism. Turgenev also masterfully 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 important in his life than love relationship with Asya.

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

Criticism

Simple, but at the same time, such a deep and soulful 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 after 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, which is disfigured by deprivation civil rights. But considering the image of the main character of the story, he notes that even criticism carries exceptionally bright feelings. This is due to the poetic image of Asya, who impressed 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 latest story; and you are not alone, many of my good friends do not praise her; I am convinced that all of you are right;

The creation of the story "Asya" was an important stage in his work for him. He wrote it 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 the last meeting between N. N. and Asya:

The hero unexpectedly showed an 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 L. N. 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, praised the story with delight. He was impressed by the character of the heroine, and he believed that she was "a sweet, fresh, free child of nature."