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 book itself. small form 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 Gagin, 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 - the same young Tatiana 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 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 shone with a 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. Conclusions from this encounter - the main idea 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 earlier in a conversation with a friend: in such a position she cannot count on a good match. 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" opens before us true meaning being - you need to live for the sake of the goal, for the sake of close people, for the sake of creativity and creation, in whatever it is expressed, 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 Asa 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. typical literary embodiment of the "extra person", and later singled out new type heroines - "Tugenev's 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 entire social group to which he 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 “ Domestic notes”, 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 question of historical destinies " extra people”, set 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 ... ". Famous poet, the addressee of the letter, was in solidarity with a friend and recognized the image of the main character as far-fetched and lifeless.

But Tolstoy was the most indignant of all critics, who assessed the work as follows: “Asya” by Turgenev, in my opinion, is the weakest thing of all that he wrote” - this remark was contained in a letter to Nekrasov. Lev 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 of the era. For example, Lenin compared Russian liberals to an indecisive character:

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

Interesting? Save it on your wall!

Author this story wants to show us clearly that it is very important to pay attention to the feelings that a person has for you. The author shows us that feelings should not be ignored. Turgenev wants to tell us that it is very important to experience first love. It shows the significance of love, all its problems and happiness. But most importantly, he tells us that you need to take a step towards love for a meeting. Sooner or later, it doesn't matter, the main thing is to take the first step on the way, perhaps to the brightest and longest love.

In the plot, we are clearly told about a couple of two people, Asya and Mr. N.N. After all, it is in the circle of this couple that the whole plot unfolds. These characters accidentally met each other in the city of Reine. Asya immediately realized that she had deep and very sincere feelings for this person, Mr. N.N. But, and Mr. N.N. himself, he did not immediately understand what he felt for Asya, in order for him to understand and understand his feelings for her, he thought a lot and thought about relationships and love in general. The character N.N was extremely indecisive in his intentions and actions, he did not understand what kind of bright ray of happiness he was refusing. But, he felt that very awareness of love and affection for a person too late. It was very sad, because N.N realized that he had missed what was dear to him, that he had lost and destroyed the happiness that was so close to him, he punished himself for destroying everything and losing his happiness. It was his only girlfriend, and the main favorite.

At that time of their relationship, not fused, Asya was only seventeen years old, she was a very self-confident girl. She was full of determination and absolutely nothing could embarrass her or somehow scare her. But Mr. N.N. was attracted not by this, but by the fact that she was very sincere and no matter how she tried to show off, she was an ordinary girl. N.N did not feel any feelings for other girls, and for him these feelings were new! He was in favor of calculating very accurately whether relationships would work out or not, he was used to reasoning and calculating accurately. But in his soul, he clearly, somewhere very deeply understood that he loves this girl and wants to be close to her.

However, without thinking much, he decides that the girl is too young for him. After all, Asya was only seventeen years old. From this position, he clearly understood that he was simply not ready to marry and start a family.

He missed his chance to be happy, and he knew very well what a mistake he had made!

The theme of love in Asya's story

The action of the story takes place abroad in Germany. The narration is conducted on behalf of the protagonist N.N. In the very first lines we learn from his lips that he was young, cheerful and healthy, did not need anything and traveled without any purpose. In a small German town N.N. sought solitude, as he had just been rejected by a young widow. At this moment, N.N. and meets the Gagins, brother and sister.

There is an opinion that the prototype of the image of Asya is Turgenev's illegitimate daughter Polina. Asya was also an illegitimate child, she was brought up first by her mother, and then in a boarding school, where she received a good education. Her way of thinking and feelings were clear to the author, he tried to convey them, describing the ambiguous behavior of Asya.

The dual position of an illegitimate child left its mark on the character of the girl. She is gifted, self-reliant and independent. At the same time very sensitive and impressionable. She is still a very young girl, almost a child. Now, when her personality is being formed, she tries on different images, different behavior. But there is no pretense in it, all Asya's actions are direct, sincere and emotional. Having met his brother and sister, Mr. N.N. feels a special disposition towards Gagin, they become good friends. But the young man is surprised, intrigued and confused by the behavior of Asya.

In fact, the reason for such a strange behavior of the girl is also that she was seized by a completely new feeling - she is in love. And, for the first time being in the power of such a strong feeling, Asya is in disarray - she does not know how to behave. Since childhood, the girl is accustomed to being in her special inner world where not everyone is allowed. She reads and thinks a lot.

Asya expresses her thoughts and experiences directly and without slyness. A new feeling plunged the heroine into confusion. The generally accepted norms of behavior do not allow the girl to talk about her experiences, but they are so strong that Asya is seized with fever and fever. The young man is also under the influence of feelings, he sympathizes with the girl. It seems to the reader that the characters are about to open up to each other and, finally, will be happy. Asya, like Pushkin's Tatyana, is the first to confess her love. And what about the hero of her dreams? Asya's love both pleases and confuses him, and the need to make a decision causes annoyance. It becomes clear that the girl is mistaken, endowing her lover with the best human qualities, he is weak-willed and indecisive.

The denouement comes when Asya, no longer able to endure the unknown, appoints N.N. date, disregarding all conventions. Going on a date, the hero is full of good intentions, but at the decisive moment, instead of telling the girl about his love, he attacks her with accusations. Frightened by decisive action and responsibility for his actions, he loses his happiness forever. Reading the story, we see that most often the hero is annoyed. First, he is annoyed at Asya's unusual behavior, then at the fact that she openly admits her feelings, and then at herself. He realized his love only after losing it forever.

Option 3

We can say that first love is often quite tragic and unpredictable in outcome. This work reflects this assumption very clearly. In it, the author wanted to attract the attention of readers with a question that touched him personally. It was written in the year 1850, and immediately gained popularity, since this story carried a very bright and instructive meaning, which was understood by most readers. On the one hand, the story seems simple and uncomplicated, however, if you feel it deeper, an incredibly thoughtful philosophical meaning is revealed.

The main character fell in love with Asya not at first sight. He became interested in her only when he was able to recognize her rather impulsive, but very sincere character, which he really liked. He thinks that she is a little weird and despite the fact that he has strong feelings, marrying her would be the wrong decision for him. When Asya informs him that her feelings for him are mutual, the hero cannot accept these words. The next day, he nevertheless decides that he needs to "live happily", and he dreams of taking the girl as his wife, but he does not find her in the city. Then, the hero begins to lead a lonely existence for many years. He enters into despair, and ceases to believe in anything. He understands that at one time he made a huge mistake, because he did not accept the words of a girl with whom he could become truly happy man. Now, the hero does not believe that he will be able to meet the girl again, whom he can love as much as Asya.

For Asya, love for the hero was an instant desire, which the heroine tried to realize by making such an open confession. She was a free girl in her thoughts, and considered it necessary to inform the central character that she loved him. The author shows that despite all her frankness, she was forced to follow the path of suffering, as the hero showed strong indecision, because of which the girl decided to leave the city. The writer shows the fact that one should live in the present moment, and not postpone important moments of life for later.

The image of Grandfather in the poem Grandfather Nekrasov

Grandfather is the main character in the poem. He is Sasha's grandfather, he was once a Decembrist. Modern readers may have recognized in this image a certain Volkonsky. Describing his appearance, one can single out a stately figure.

The system of images in the play Chekhov's Cherry Orchard composition

So the hot time of vacations and sea adventures has ended. Increasingly, the sky is overcast with lead clouds, the evenings have become cold and long, but during the day you can still soak up the rays of the warm sun.

1.3. The theme of love in the story "Asya".

So, the story of I.S. Turgenev's "Asya" touches on the love-psychological issues that concern readers. The work will also allow you to talk about such important moral values ​​as honesty, decency, responsibility for your actions, about the purpose and meaning of life, about choosing life path, about the formation of personality, about the relationship between man and nature.

In Turgenev's story "Asya" the writer expresses his moral quest. The whole work is surprisingly clean and bright, and the reader is involuntarily imbued with its splendor. The town itself 3. is shown surprisingly beautiful, it has a festive atmosphere, the Rhine seems to be silver-gold. Turgenev creates in his story a surprisingly bright, rich color. What a magnificent abundance of colors is presented in the story - “shiny purple air”, “girl Asya, bathed in a sunbeam”.

The story inspires optimism and joyful hope. But the denouement is surprisingly harsh. Mr. N. N. and Asya, who are in love with each other, are young, free, but, as it turned out, fate cannot unite them. The fate of Asya is very complicated, and in many respects the reason for this is her origin. Also, the character of the girl cannot be called ordinary, she is certainly very strong personality. And at the same time, Asya is a rather strange girl.

Love for a strange but very attractive girl scares a young man a little. In addition, Asya's "false" position in society, her upbringing and education also seem too unusual to him. The experiences of the characters in the story are shown very truthfully and vividly: “The inevitability of a quick, almost instantaneous decision tormented me ... I had to ... fulfill a difficult duty ... the thought that I was an immoral deceiver ... rang in my head. ..” The young man strives to take control of his emotions, although he does it rather badly. Something unimaginable happens in Asya's soul. Love turns out to be a real shock for her, overtakes her like a thunderstorm.

Turgenev shows the feeling of love in all its beauty and strength, and his human feeling seems like a natural element. He says about love: "It does not develop gradually, it cannot be doubted." Indeed, love turns the whole life. And a person does not find the strength in himself to fight it.

As a result of all the doubts and mental anguish, Asya is forever lost to the protagonist. And only then did he realize how strong was the feeling of love that he felt for this strange girl. But, alas, it's too late, "happiness has no tomorrow ...".

2. " Noble Nest».

2.1. Getting to know the characters.

Turgenev introduces the reader to the main characters of the "Noble Nest" and describes in detail the inhabitants and guests of the house of Marya Dmitrievna Kalitina, the widow of the provincial prosecutor, who lives in the city of O ... with two daughters, the eldest of whom, Liza, is nineteen years old. More often than others, Marya Dmitrievna has a St. Petersburg official Vladimir Nikolaevich Panshin, who ended up in a provincial town on official business. Panshin is young, dexterous, moving up the corporate ladder with incredible speed, while he sings well, draws and looks after Lisa Kalitina 7.

The appearance of the protagonist of the novel, Fyodor Ivanovich Lavretsky, who is distantly related to Marya Dmitrievna, is preceded by a brief background. Lavretsky is a deceived husband, he is forced to leave his wife because of her immoral behavior. The wife remains in Paris, Lavretsky returns to Russia, ends up in the Kalitins' house and imperceptibly falls in love with Lisa.

Dostoevsky in The Noble Nest pays a lot of attention to the theme of love, because this feeling helps to highlight all the best qualities of the characters, to see the main thing in their characters, to understand their soul. Love is depicted by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, as in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of heroes.

The love of Lavretsky and Liza Kalitina does not manifest itself immediately, it approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with its irresistible force. Lavretsky, who has experienced a lot in his lifetime: hobbies, disappointments, and the loss of all life goals, at first simply admires Lisa, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna, the hypocritical, depraved wife of Lavretsky, lacks who abandoned him. Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, and the consciousness of this rapprochement is immediately expressed in their views, in their friendly and quiet smiles, in themselves their movements" 8 . This is exactly what happened to Lavretsky and Lisa.

They talk a lot and realize that they have a lot in common. Lavretsky takes life, other people, Russia seriously, Lisa is also a deep and strong girl who has her own ideals and beliefs. According to Lemm, Liza's music teacher, she is "a fair, serious girl with lofty feelings." Lisa is courted by a young man, a city official with a bright future. Lisa's mother would be glad to give her in marriage to him, she considers this a great match for Lisa. But Lisa cannot love him, she feels falseness in his attitude towards her, Panshin is a superficial person, he appreciates external brilliance in people, and not the depth of feelings. Further events of the novel confirm this opinion about Panshin.

From a French newspaper, he learns about the death of his wife, this gives him hope for happiness. The first climax comes - Lavretsky in the night garden confesses his love to Liza and finds out that he is loved. However, the day after the confession, Lavretsky's wife, Varvara Pavlovna, returns from Paris. The news of her death turned out to be false. This second climax of the novel, as it were, opposes the first: the first gives the characters hope, the second takes it away. The denouement comes - Varvara Pavlovna settles in the family estate of Lavretsky, Lisa goes to the monastery, Lavretsky is left with nothing.

2.2. ImageTurgenev's girl Lisa.

In Liza's appearance, a special type of Russian religiosity is revealed, brought up in her by a nanny, a simple peasant woman. This is a “repentant” version of Christianity, its supporters are convinced that the path to Christ lies through repentance, through crying about one’s own sins, through a harsh rejection of earthly joys. The harsh spirit of the Old Believers wafts invisibly here. It was not for nothing that Agafya, Lisa's mentor, was said to have retired to a schismatic skete. Lisa follows in her footsteps, goes to the monastery. Having fallen in love with Lavretsky, she is afraid to believe in her own happiness. “I love you,” Lavretsky says to Liza, “I am ready to give you my whole life.” How does Lisa react?

“She shuddered again, as if something had stung her, and raised her eyes to the sky.

It's all in God's power, she said.

But do you love me, Lisa? We will be happy?

She lowered her eyes; he quietly drew her to him, and her head fell on his shoulder ... "

Lowered eyes, head on the shoulder - this is both an answer and doubts. The conversation ends with a question mark, Lisa cannot promise this happiness to Lavretsky, because she herself does not fully believe in its possibility.

The arrival of Lavretsky's wife is a disaster, but also a relief for Liza. Life again enters within the limits understandable to Lisa, is placed within the framework of religious axioms. And Liza perceives the return of Varvara Pavlovna as a well-deserved punishment for her own frivolity, for the fact that her former greatest love, love for God (she loved Him “enthusiastically, timidly, tenderly”) began to be replaced by love for Lavretsky. Liza returns to her "cell", "clean, bright" room "with a white bed", returns to where she left for a short while. The last time in the novel we see Lisa is here, in this closed, albeit bright space.

The next appearance of the heroine is taken out of the novel’s action, in the epilogue Turgenev reports that Lavretsky visited her in the monastery, but this is no longer Lisa, but only her shadow: “Moving from choir to choir, she passed close by him, walked straight with the hurriedly humble gait of a nun - and did not look at him; only the eyelashes of the eye turned to him quivered a little, only she tilted her emaciated face even lower ... "9.

A similar turning point occurs in the life of Lavretsky. After parting with Liza, he stops thinking about his own happiness, becomes a good owner and devotes his strength to improving the life of the peasants. He is the last of the Lavretsky family, and his "nest" is empty. The "noble nest" of the Kalitins, on the contrary, has not been ruined thanks to two other children of Marya Dmitrievna - her eldest son and Lenochka. But neither one nor the other is important, the world is still becoming different, and in this changed world, the “noble nest” no longer has exceptional value, its former, almost sacred status.

Both Lisa and Lavretsky act differently from the people of their "nest", their circle. The circle broke up. Lisa went to a monastery, Lavretsky learned to plow the land. Girls of noble rank went to the monastery in exceptional cases, the monasteries were replenished at the expense of the lower classes, just as the master did not have to plow the land and work "not for himself alone." It is impossible to imagine either father, grandfather, or great-grandfather Lavretsky behind a plow - but Fyodor Ivanovich lives in a different era. There comes a time of personal responsibility, responsibility for oneself alone, a time of life not rooted in the tradition and history of one's own kind, a time when one must "do business." Lavretsky at forty-five feels like a deep old man, not only because there were other ideas about age in the 19th century, but also because the Lavretskys must forever leave the historical stage.

For all the sobriety of Turgenev's realism, for all its critical orientation, the novel "The Nest of Nobles" is a very poetic work. The lyrical beginning is present in the depiction of the most diverse phenomena of life - in the story of the fate of the long-suffering serf women Malasha and Agafya, in the descriptions of nature, in the very tone of the story. The image of Liza Kalitina, her relationship with Lavretsky is fanned with high poetry. In the spiritual loftiness and integrity of the appearance of this girl, in her understanding of the sense of duty, there is much in common with Pushkin's Tatyana.

The depiction of love between Lisa Kalitina and Lavretsky is distinguished by its special emotional power, striking in its subtlety and purity. For the lonely, aging Lavretsky, who after many years visited the estate with which his best memories were associated, “spring again blew from the sky with radiant happiness; again she smiled at the earth and people; again, under her caress, everything blossomed, fell in love and sang. Turgenev's contemporaries admired his gift for merging sober prose with the charm of poetry, the severity of realism with a flight of fancy. The writer achieves high poetry, which can only be compared with the classic samples of Pushkin's lyrics.

3. Love in the novel by I.S. Turgenev "Fathers and Sons".

3.1. Love story Pavel Kirsanov.

At the beginning of the novel “Fathers and Sons”, Turgenev presents us with his hero as a nihilist, a man “who does not bow to any authorities, who does not accept a single principle on faith”, for whom romanticism is nonsense and a whim: “Bazarov only recognizes what can be felt with the hands, seen with the eyes, put on the tongue, in a word, only what can be witnessed by one of the five senses. Therefore, he considers mental suffering unworthy of a real man, high aspirations - far-fetched and ridiculous. Thus, “... disgust for everything that is detached from life and disappears in sounds is a fundamental property” of Bazarov.

In the novel we see four couples, four love stories: this is the love of Nikolai Kirsanov and Fenechka, Pavel Kirsanov and Princess G., Arkady and Katya, Bazarov and Odintsova. The love of Nikolai Kirsanov and his son Turgenev could not be of interest, since this love is usually dry, homely. She is devoid of the passion that was inherent in Turgenev himself. Therefore, we will consider and compare two love stories: this is the love of Pavel Kirsanov and the love of Bazarov 11.

Pavel Petrovich Kirsanov was brought up first at home, then in the building. He was different from childhood, he was self-confident and somehow amusingly bilious - he could not be liked. He began to appear everywhere as soon as he became an officer. Women went crazy for him, men called him a dandy and secretly envied him. Pavel Petrovich met her at a ball, danced a mazurka with her, and fell passionately in love with her. Accustomed to victories, he quickly achieved what he wanted here, but the ease of triumph did not cool him down. On the contrary, he fell in love even more. Subsequently, Princess G. fell out of love with Pavel Kirsanov and went abroad. He retired and followed her, he almost lost his mind. He traveled abroad for a long time. Love arose again, but even faster than the first time, it evaporated. Pavel returned to Russia, but could not live a strong life, wasted for 10 years, Nikolai's wife died, Princess G. She died in a state close to insanity. Then she returns to him the ring, where the sphinx is crossed out, and wrote that this is the solution. A year and a half later, he moved to live in Maryino.

The heroine of the novel, Fenechka, attracts Bazarov in the same way as the Kirsanov brothers - youth, purity, spontaneity.

“She was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat cotton dress; a blue new kerchief lay lightly on her round shoulders” 12 .

It should be noted that Fenechka appeared before Arkady and Bazarov not on the first day of their arrival. On that day, she said she was sick, although, of course, she was healthy. The reason is very simple: she was terribly shy. The duality of her position is obvious: the peasant woman, whom the master allowed to live in the house, was embarrassed himself. Nikolai Petrovich committed an act that seemed noble. He settled a woman who gave birth to a child from him, that is, as if he recognized certain rights of her and did not hide the fact that Mitya was his son.

But at the same time he behaved in such a way that Fenechka could not feel free and coped with her position only thanks to her natural naturalness and dignity. This is how Nikolai Petrovich tells Arkady about her: “Please don’t call her loudly ... Well, yes ... she lives with me now. I placed it in the house... there were two small rooms. However, all this can be changed.” He didn’t say anything about his little son at all - before that he was embarrassed. But then Fenechka appeared in front of the guests: “She lowered her eyes and stopped at the table, lightly leaning on the very tips of her fingers. It seemed that she was ashamed that she had come, and at the same time she seemed to feel that she had the right to come. It seems that Turgenev sympathizes with Fenechka and admires her. He seems to want to protect her and show that she is not only beautiful in her motherhood, but also above all rumors and prejudices: “Indeed, is there anything in the world more captivating than a beautiful young mother with a healthy child in her arms? ” Bazarov, living with the Kirsanovs, was happy to communicate only with Fenechka: “Even his face changed when he talked to her: it took on a clear, almost kind expression, and some playful attentiveness was mixed with his usual carelessness.” I think the point here is not only in the beauty of Fenechka, but precisely in her naturalness, the absence of any kind of affectation and attempts to build a lady out of herself. The image of Baubles is like a delicate flower, which, however, has unusually strong roots.

Nikolai Petrovich loves ingenuously the mother of his child and his future wife. This love is simple, naive, pure, like Fenechka herself, who simply reveres him. Pavel Petrovich hides his feelings for the sake of his brother. He himself does not understand what attracted him to Fedosya Nikolaevna. Delirious, the elder Kirsanov exclaims: “Oh, how I love this empty creature!”

3.1. Evgeny Bazarov and Anna Odintsova: the tragedy of love.

The most vivid love story happened in the novel by Yevgeny Bazarov. He is an ardent nihilist who denies everything, including love - he himself falls into the net of passion. In the company of Odintsova, he is sharp, mocking, and alone with himself he discovers romance. He is irritated by his own feelings. And when they finally pour out, they bring only suffering. The chosen one rejected Bazarov, frightened by his animal passion and lack of culture of feelings. Turgenev gives a cruel lesson to his hero.

Turgenev created the image of Anna Sergeevna Odintsova, a young beautiful widow and a wealthy aristocrat, an idle, cold, but smart and curious woman. For a moment she was carried away by Bazarov as a strong and original person, she had never met anyone like her. The observant Nabokov rightly remarked about Odintsova: “Through her rough appearance, she manages to discern the charm of Bazarov.” She is interested in him, asking about his main goal: “Where are you going?” This is female curiosity, not love.

Bazarov, a proud and self-confident commoner who laughed at love as an unworthy man and fighter of romanticism, experiences inner excitement and embarrassment in front of a self-confident beauty, is embarrassed and, finally, passionately falls in love with the aristocrat Odintsova. Listen to the words of his forced confession: "I love you stupidly, madly."

A cultured nobleman who knew how to appreciate the beauty of a sublime love feeling would never say so, and here the sad knight of unhappy love Pavel Kirsanov is higher and nobler than Bazarov, who is ashamed of his love. Romanticism returned and once again proved its strength. Bazarov now admits that man is a mystery, his self-confidence is shaken.

At first, Bazarov drives this romantic feeling away from himself, hiding behind crude cynicism. In a conversation with Arkady, he asks about Odintsova: “What kind of figure is this? She doesn't look like other women." It can be seen from the statement that she interested Bazarov, but he is trying in every possible way to discredit her in his own eyes, comparing with Kukshina, a vulgar person.
Odintsova invites both friends to visit her, they agree. Bazarov notices that Arkady likes Anna Sergeevna, but we are trying to be indifferent. He behaves very cheekily in her presence, then he becomes embarrassed, blushes, and Odintsova notices this. During the whole stay, Arkady is surprised at Bazarov's unnatural behavior, because he does not talk to Anna Sergeevna "about his convictions and views", but talks about medicine, botany, etc. 13.

On the second visit to Odintsova's estate, Bazarov is very worried, but tries to restrain himself. He understands more and more that he has some kind of feeling for Anna Sergeevna, but this does not agree with his convictions, because love for him is “rubbish, unforgivable nonsense”, a disease. Doubts and anger rage in Bazarov’s soul, the feeling for Odintsova torments and infuriates him, but still he dreams of reciprocal love. The hero indignantly recognizes romance in himself. Anna Sergeevna tries to provoke him to talk about feelings, and he speaks about everything romantic with even greater contempt and indifference.

Before leaving, Odintsova invites Bazarov to her room, says that she has no purpose and meaning in life, and tricks him into confessing. The main character says that he loves her “stupidly, madly”, by his appearance it is clear that he is ready for anything for her and is not afraid of anything. But for Odintsova this is just a game, she likes Bazarov, but she does not love him. The protagonist in a hurry leaves Odintsova's estate and goes to his parents. There, helping his father in medical research, Bazarov becomes infected with a serious illness. Realizing that he will soon die, he casts aside all doubts and convictions and sends for Odintsova. Before his death, Bazarov forgives Anna Sergeevna and asks to take care of his parents.

His dying farewell to Odintsova, Bazarov's confession is one of the most powerful in Turgenev's novel.

So, in the life of the Kirsanov brothers, and in the life of the nihilist Bazarov, love plays a tragic role. And yet the strength and depth of Bazarov's feelings do not disappear without a trace. At the end of the novel, Turgenev draws the grave of the hero and "two already decrepit old men", Bazarov's parents, who come to her. But this is also love! “Is love, holy, devoted love, not omnipotent?”

Conclusion

The novel by I. S. Turgenev "The Nest of Nobles" is distinguished by the simplicity of the plot and at the same time the deep development of characters.

Lavretsky and Panshin, Lavretsky and Mikhalevich. But along with this, the problem of the clash of love and duty was also highlighted in the novel. It is revealed through the relationship between Lavretsky and Lisa.

The image of Liza Kalitina is a huge achievement of Turgenev. She has a natural mind, a subtle feeling. This is the embodiment of purity and goodwill. Liza is demanding of herself, she is used to keeping herself strict. Marfa Timofeevna calls her room "cell" - to such an extent it looks like a monastery cell.

Brought up from childhood in religious traditions, Lisa deeply believes in God. She is attracted by the requirements of religion: justice, love for people, readiness to suffer for others. She is characterized by cordiality, love for beauty. Lisa is a true patriot. Her soul is full of love - not only for the people around her, but also for the common people, with whom she is inextricably linked.

Liza Kapitina combines everything that the author dreams of for her heroines: modesty, spiritual beauty, the ability to deeply feel and experience, and most importantly, the ability to love, to love selflessly and limitlessly, without fear of self-sacrifice. This is exactly what we see in the image of Lisa. She "leaves" Lavretsky after learning that his lawful wife is alive. She does not allow herself to say a word to him in the church where he has come to see her. And even eight years later, when meeting in the monastery, she passes by: “Moving from choir to choir, she walked close by him, walked with the even, hastily humble gait of a nun - and did not look at him; only the eyelashes of the eye turned to him slightly trembled, only she bent her emaciated face even lower - and the fingers of her clenched hands, intertwined with a rosary, pressed even closer to each other.

Not a word, not a look. And why? You can’t return the past, but there is no future, so why disturb old wounds?

In this novel, the firmness of her character and the power of love are again manifested: not to cause suffering to a loved one, even if only with a hint of the past.

In Asa, you can see a lot in common with Lisa from the Noble Nest. Both girls are morally pure, truth-loving, capable of strong passions. According to Turgenev, he wrote the story "very ardently, almost with tears."

Asya is the embodiment of youth, health, beauty, a proud, direct nature. Nothing hinders her love, except for a doubt about what she can be loved for. In the story, the author's thoughts about the fate of his daughter, about his unhappy love. Zinaida Zasekina is one of the most controversial female types created by Turgenev 15 .

Asya is one of the most poetic female images of Turgenev. The heroine of the story is an open, ambitious, passionate girl, who at first sight strikes with her unusual appearance, spontaneity and nobility. The tragedy of Asya's life is in her origin: she is the daughter of a serf peasant woman and a landowner. This explains her behavior: she is shy, does not know how to behave in society. After the death of her father, the girl is left to herself, she early begins to think about the contradictions of life, about everything that surrounds her. Asya is close to other female characters in Turgenev's works. With them, she is related by moral purity, sincerity, the ability to strong passions, the dream of a feat.

Asya is given in the story through the perception of Mr. N.N., on whose behalf the narration is being conducted. N.N. meets her while traveling in Germany, where Asya lives with her brother. Her peculiar charm awakens love in him. Asya herself is faced with such a feeling for the first time in her life. N.N. seems to her an extraordinary person, a real hero. Love inspires the heroine, gives her new strength, inspires faith in life, but her chosen one turns out to be a weak-willed and indecisive person, he cannot adequately respond to her ardent feelings. Asya's determination frightens him, and N.N. leaves her. The first love of the heroine is unhappy.

In "Fathers and Sons" - revealed the demarcation of the main social forces, the originality of the conflicts of the spiritual life of the troubled time of the late 50s and early 60s 16 .

In Turgenev's novel, Fenechka can be called the image of "tender traditionalism", "feminine commonness". Affectionate and quiet, she runs the household, nurses the child, she does not care about the problem of being, issues of world significance. Since childhood, she saw her happiness in the family and home, husband and child. Her peace and, again, happiness are near her, next to her family hearth. She is beautiful in her own way, able to interest any of the men around her, but not for long. Recall the episode in the gazebo with Bazarov, wasn’t Fenechka interesting to him? But he did not doubt for a moment that this was not the person with whom he was able to connect his life.

Another heroine of the novel, Anna Sergeevna Odintsova, is an independent, powerful, independent and intelligent woman. She made an impression on those around her not with "beauty", but with inner strength and peace. This is what Bazarov liked, since he believed that "a beautiful woman cannot think freely." Bazarov is a nihilist, for him any warm attitude towards a woman is "romanticism, nonsense", therefore the sudden love for Odintsova split his soul into two halves: "a staunch opponent of romantic feelings" and "passionately loving person". Perhaps this is the beginning of a tragic retribution for his arrogance. Naturally, this internal conflict of Bazarov is reflected in his behavior. When he was introduced to Anna Sergeevna, Bazarov surprised even his friend, as he was visibly embarrassed ("... his friend blushed") True, Evgeny himself was annoyed "Now you're scared of the women!" He covered up his awkwardness with exaggerated swagger. Bazarov made an impression on Anna Sergeevna, although his "breaking in the first minutes of the visit had an unpleasant effect on her."

Eugene could not control his feelings, did not understand how to behave, and his defensive reaction is cynicism. ("Such a rich body - the first grade") This behavior surprises and annoys Arkady, who also managed to fall in love with Odintsova by that time. But Anna Sergeevna "treated Arkady like a younger brother, she appreciated in him the kindness and innocence of youth."

For Bazarov, in our opinion, the most difficult period began: continuous disputes, quarrels and disagreements with Arkady, and even a new incomprehensible feeling. In the days spent on the Odintsov estate, Bazarov thought a lot, evaluated his own actions, but could not fully comprehend what was happening in him. And then Odintsova flirted and teased him that “his heart ... was breaking”, and “his blood caught fire as soon as he remembered her ...”. But when Bazarov decides to confess to Anna Sergeevna in love, then, alas, he does not find reciprocity and only hears in response: “You did not understand me.”

It was then that the “car fell apart”, and the response of the nihilist is, again, rudeness.” Who is Anna Sergeevna? I didn’t hire her!… I didn’t break myself, so the wench won’t break me.” His own “student”, Arkady, is trying to support him, but Bazarov knows that their paths have diverged and “falsely cheeky banter has long been established between them ... - a sign of secret displeasure and suspicion.” He says with malicious irony: “You are too exalted for my understanding… and end with that…, you were not created for our bitter, tart, bean life…”

In the farewell scene with Arkady Bazarov, although he restrained his feelings, nevertheless, unexpectedly for himself, he became deeply moved. Strange as it may seem, Arkady turned out to be the only closest person to him, and Eugene treated him well anyway. Bazarov’s assumption that Odintsova did not accept his love only because she was an aristocrat was not confirmed, since the simple Fenechka did not accept his “love affair”.

List of used literature

Batyuto A.I. I.S. Turgenev is a novelist. - L.: 1999. - 122 p.

Bakhtin M.M. Questions of literature and aesthetics. – M.: 2000. – 485 p.

Bilinkis N.S., Gorelik T.P. "Turgenev's nest of nobles and the 60s of the nineteenth century in Russia" // Scientific reports of higher education. Philological Sciences. - M.: 2001. - No. 2, S.29-37.

Grigoriev A. I. S. Turgenev and his activities. Regarding the novel "The Nest of Nobles" //Grigoriev A. Literary criticism. – M.: 2002.

Kurlyandskaya G.B. Turgenev and Russian literature. - M., 1999.

Lebedev Yu.V. Roman Turgenev "Fathers and Sons". - M., 1982.

Lebedev Yu.V. Turgenev. ZhZL series. – M.: 1990.

Lotman Yu.M. Textbook on Russian literature for high school. - M .: "Languages ​​of Russian culture", 2000. - 256 p.

Luchnikov M.Yu. Plot and dialogue in I.S. Turgenev's "Nest of Nobles" // Typological analysis literary work. - Kemerovo: 2000, pp. 108-116.

Markovich V.M. Between the epic and the tragedy / "The Noble Nest" / // Ed. V.M. Markovich I.S. Turgenev and the Russian realistic novel of the 19th century. - L .: 1990, S. 134-166.

Odinokov V.G. Problems of poetics and typology of the Russian novel of the 19th century. - Novosibirsk: 2003. - 216 p.

Literature Program. Grades 5–11 / Edited by A.G. Kutuzova // Programs of educational institutions. 5-11 grades. – M.: Enlightenment, 1995.

Literature Program. Grades 5–11 / Edited by G.I. Belenky and Yu.I. Lyssogo // Programs of educational institutions. Literature. 1-11 grades. – M.: Mnemosyne, 2001.

Pumpyansky L.V. Turgenev's novels. Classical tradition // Collection of works on the history of Russian literature. – M.: 2000.

Turgenev in the memoirs of his contemporaries. - M., 1983. T.1-2.

Turgenev in the modern world. - M., 1997.

Turgenev I.S. Asya. - M.: Publishing house: AST, 2002. - 271 p.

Meshchanskoe. "Such an understanding love, - the critic notes ... the dying "song of the triumphant love"- the song of the Turgenev. Thunderous voices L. ... perfect and prophetic works their own, muse Turgenev similar to this...

2.3 The theme of love in the story "Asya"

Reviews of contemporaries

It seems to us that "Asya" is one of the most lyrical stories of I. S. Turgenev. Often it is published together with the stories "First Love" and "Spring Waters" under the general title "Tales of Love".

"Asya" was written in 1857, that is, almost a century and a half ago, its appearance marked Turgenev's exit from a deep mental crisis. Published for the first time in 1858 in the Sovremennik magazine, it evoked numerous responses.

Dobrolyubov's characterization of Turgenev as an artist can be applied to this work: "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 together with the faces created by him, he himself is carried away by the poetic atmosphere that he always loves to surround them with ... And this passion is contagious: it irresistibly seizes the reader's sympathy, from the first page rivets his thought and feeling to the story, makes him experience, re-feel those moments, in which Turgenev's faces appear before him. With these words of criticism, it is curious to compare the confession of Turgenev himself about his work on "Asya": "... I wrote it very passionately, almost with tears ..."

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

The most famous was the article by N. G. Chernyshevsky "Russian man on rendez-vous". It was Chernyshevsky’s point of view that was recorded in the school curriculum on the literature of the Soviet period, who, in a polemic with liberalism, relevant for that time, emphasized in Turgenev’s hero the typical features of a noble liberal: flabbiness of nature, inability to fight decisively.

The article is imbued with the gloomy pathos of a raznochintsy intellectual, poisoned by a deep hostility towards the "loafers" of the nobles.

Chernyshevsky sees N.N. a sign of the times, a dash of a whole series literary heroes(Rudin, Beltova from Herzen's novel "Who is to blame?", partly the hero of Nekrasov's poem "Sasha"), and after them the entire liberal noble intelligentsia. The critic points to her failure in the very area that she has long considered "her" - in the sphere of love, chivalrous relations with a lady. Chernyshevsky is convinced that chivalry has long been replaced by meanness, cowardice, cowardice. In part, it was. But Chernyshevsky deliberately exaggerates, his assessment of Turgenev's story is not only a response to a literary text, but also an argument in the ideological struggle of the time.

Turning almost a century and a half later to the work of the famous critic, we clearly see, firstly, the tendentiousness (bias, bias) of Chernyshevsky's analysis of the story, and secondly, the emotional and evaluative nature of the epithets addressed to the main characters (Mr. N.N. - "Worse than a notorious scoundrel", Asya - "a dependent creature, an offended creature"). But despite its distinct tendentiousness, the article contains interesting and quite fair observations.

Reviews of other writers of that time are also based on emotions. V. P. Botkin wrote that not everyone liked Asya. In his opinion, Asya's face failed. P. V. Annenkov and Saltykov-Shchedrin admired the story, Nekrasov also admired, but he wanted to change the scene of the meeting, "soften and reduce" the reproaches of N.N. to Asya.

The above information helps us understand how the story was perceived by contemporaries.

Some researchers of Turgenev's work (P. V. Annenkov) write about the author's "secret" psychologism. They write: "The originality and strength of Turgenev's analysis, its originality and lasting charm lies in the fact that Turgenev was most attracted to those unsteady moods and impressions that, merging, should cause a person to feel full, rich, joyful from the feeling of one's fusion with the environment. the world."

This orientation of Turgenev's psychologism was found in his early stories and is clearly visible throughout creative way writer. In this area of ​​psychology, he showed himself to be a great master, capturing really the finest, unsteady movements of the soul, almost not translatable into logical categories.

To determine what kind of love Turgenev wrote about, you need to once again carefully read the text of the story, trying to understand what happened between its main characters.

Autobiographical basis of the story

The story "Asya" is based on autobiographical information.

The main theme of the story

The story "Asya" is about love and only about love, which, according to Turgenev, is "stronger than death and the fear of death" and which "holds and moves life." This story has an extraordinary poetic charm, beauty and purity.

main topic story is love. Everything about her, about love, about serious and strict, about intimate and important... The plot is based on a love story that ended in separation not due to some external circumstances, but due to the internal failure of the hero, who failed to take responsibility for the fate and happiness of the girl who fell in love with him.

Love ... This is probably the most mysterious of all human feelings, and Turgenev, as perhaps one of the few writers, perceives with poetic awe the birth of an eternally young feeling - love. How to deal with heart disease? How to overcome sadness? Unrequited love - what is it? How do you say "I love you" to someone you're not entirely sure about? How to survive the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who loves! Colors are brighter, sounds are clearer! After all, having fallen in love, a person feels more subtle, sees more sharply, his heart opens to beauty, goodness.

Questions and questions... We will not find direct answers to them in Turgenev, but all Turgenev's heroes are tested by love, a kind of test of viability. One of the researchers of Turgenev's work, P. Annenkov, wrote that Turgenev's novels and stories are united by one feature - each of them has a "psychological riddle". So we have to try to unravel this psychological riddle, to understand what means the writer uses in order to reveal to us the secrets of spiritual experiences; trace how N.N. with the Gagins, it develops into a love story, which turned out to be a source of both sweet romantic excitement and bitter torment for the hero, which later, over the years, although they lost their sharpness, doomed the hero to the fate of a bean.

Being focused on love-psychological issues, this story cannot but arouse interest.

The image of the main character

The protagonist of Turgenev's story, on behalf of whom the story is being told, is a twenty-five-year-old rich man who travels, in his own words, "without any purpose, without a plan." The young man is unfamiliar with painful thoughts about the meaning of existence. The only thing that guides the hero in life is his own desire: "I was healthy, young, cheerful, my money was not transferred, worries did not have time to start - I lived without looking back, did what I wanted, prospered, in a word, - the narrator admits "... I lived without looking back."

"Without looking back" is an indicator of the degree of his social emancipation, which is determined not only and not so much by the unburdenedness of all kinds of worldly worries and the absence of thoughts about tomorrow, but by a certain freedom in terms of moral and ethical.

"Without looking back" means not thinking about the consequences of one's actions, "not taking responsibility for the fate of one's neighbor."

"Without looking back" implies, therefore, absolute freedom of will and action without any moral obligations on their part.

As you can see, the character of the hero of the story from the very beginning is set by the author as rather contradictory. On the one hand, the attunement to the wave of his own desires testifies to the well-known selfishness of his nature. At the same time, the deep inner need of the hero is an attraction to society, and this contradicts egoism. He is guided by curiosity, a genuine interest in the world, in people: "It amused me to observe people ... but I didn’t even observe them, I examined them with some kind of joyful and insatiable curiosity." However, the hero's aspiration to meet people is partly imaginary, because the role of an outside observer implies a certain elevation above the surrounding people, isolation from society. But at the same time, along with the desire to take the position of the leader, he does not feel the slightest discomfort from the position of the follower: “In the crowd, it was always especially easy and gratifying for me; it was fun for me to go where others were going, to shout when others shouted, and at the same time I loved to watch these others scream." Let us note that in the end, it was precisely the statement, which in fact turned into the freedom of expression of the will of the hero, it was precisely the dependence on the opinion of the "crowd", on common social class prejudices that prevented the hero from finding happiness: having fallen in love, he did not dare to connect his fate with a girl of a lower origin, the illegitimate daughter of a landowner.

Turgenev masterfully shows the origin and evolution of love feelings in the hero. At the first meeting, the girl whom Mr. N. saw seemed to him very pretty.

Further - a conversation in the Gagins' house, Asya's somewhat strange behavior, a moonlit night, a boat, Asya on the shore, throwing an unexpected phrase: "You drove a pillar into the moon, you broke it ...", the sounds of a Lanner waltz - this is enough for the hero to feel yourself unreasonably happy. Somewhere in the depths of his soul, the thought of love is born in him, but he does not give it a go. Soon, with pleasure, even with hidden complacency, the hero begins to guess that Asya loves him. He drowns in this blissful sweet feeling, not wanting to look into himself and speed things up. Asya is not like that. Having fallen in love, she is ready for the most extreme decisions. And these decisions are required from the hero. But when Gagin starts talking about marriage, N.N. again evades the answer, as he once evaded him in a conversation with Asya about wings. After reassuring Gagin, he begins to interpret "as calmly as possible" about what should be done in connection with Asya's note. And then, left alone, thinking about what had happened, he remarks: "Her love made me both happy and embarrassed ... The inevitability of a quick, almost instantaneous decision tormented me ...". And he comes to the conclusion: "Marrying a seventeen-year-old girl, with her disposition, how can this be!"

The structure of the narrator's image in the story is very complex. According to the first sentence of the story, we understand that this story was recorded from the words of N.N. The one who allegedly wrote it down reveals himself with just two words: "... began N.N." Then N.N. tells the story of his love, at that time he was probably about fifty years old. Several N.N. coexist simultaneously in the story:

N.N. fifty years;

N.N. twenty-five years old - the way he was in reality (found in actions);

N.N. twenty-five years old - the way N.N. sees him. at fifty (discovered through attempts at introspection).

The story takes the form of memoirs shared by N.N. twenty-five years after meeting Asya. The temporary distance is necessary for Turgenev in order to give the aged hero the opportunity to look at himself from the outside, to pass judgment on himself.

Thus, the reader sees N.N. - a young man of about twenty-five, cheerful, carefree, living for his own pleasure. He subtly feels the beauty of nature, is observant, well-read, has acquired knowledge in the field of painting and music, is sociable, has an interest in the world around him, in people. But he is indifferent to work, and he does not need it. Nevertheless, with all his strengths and weaknesses, he managed to touch Asya's heart.

The role of landscape in the story

The landscape plays an important role in revealing the human character.

The hero himself admits that he "didn't like the so-called beauties" of nature, "didn't like it to be imposed", "prevented" from focusing attention on a person. A small, cozy German town just attracts the hero with its simplicity, the fact that there is nothing "majestic" and "super interesting" in it, and most of all - with its tranquility, which is felt in everything. It is no coincidence that, introducing the reader to Z., the author paints him at night, when the town is "sensitively and peacefully" dozing. The narrator calls the moonlight "serene", the rays of the night luminary - "stationary"; the night watchman's whistle sounds 'sleepy', and the dog grumbles 'in an undertone', and candles 'glow modestly in the narrow windows'. And even the waters of the famous Rhine "slid past, slightly swollen and rumbling," and the boats, launched by the children, "quietly ran on slightly puffed up sails." Having settled in Z., the hero feels quite comfortable, maybe because the calm, measured rhythm of Z.'s life miraculously corresponds to the biorhythm of his own body. N. N. leisurely walks along the quiet streets or sits peacefully on the banks of the river, spending time in pleasant contemplation.

In Turgenev's story, every detail of the landscape lives and breathes in its own way. "Vine vines mysteriously protruded their curled tendrils from behind stone fences; something ran in the shadows near the old well, ... and the air was caressing your face ... ". Everything suggests that the peace of the sleeping town is just an appearance: static is fraught with continuous movement, behind the apparent tranquility you can clearly feel the intense pulse of life going on as usual.

Comparison of the story "Asya" and "Doctor Faust" by Goethe.

The final lines: "The lindens smelled so sweet that the chest involuntarily breathed deeper and deeper, and the word "Gretchen" - either an exclamation or a question - just begged to be on the lips" - not only convey the enthusiastic state of the hero's soul, fascinated by the charm of a summer night, but also gives the image a certain national flavor.

The name Gretchen is not accidentally mentioned on the pages of Turgenev's story.

As you know, one of the temptations offered by Mephistopheles to Faust is the temptation of love. Mephistopheles brings Faust to Margarita and helps him satisfy his flared passion. However, what at first seemed like a simple whim, develops into a serious feeling. Nevertheless, Faust, carried away by Mephistopheles to new temptations, forgets about his beloved. Rejected by people, abandoned by her fiancé, in despair Margarita kills her newly born daughter. Faust learns too late about the tragic fate of his beloved. He tries to free her from prison, where she is imprisoned for the murder of a child, but the young woman, tormented by repentance, decides to accept retribution for her sins, to answer for her deeds before God's court.

The mention in "Ace" of Gretchen (a diminutive of Margarita) is certainly very significant. And Turgenev's Asya and Goetev's Margarita are two young creatures who have barely entered "adult" life, contact with which ends dramatically for both. Both experienced love for the first time, and both turned out to be deceived in their first feeling (Turgenev, however, does not allow his heroine to fall into sin). It's about similarities at the plot level. On deeper analysis female images it is also possible to reveal a lot of common features, noting, however, clearly visible differences. IN spiritually the heroine of Goethe's poem is rather unassuming. She cannot understand the high intellectual demands of her lover.

Speaking about Asa, it should be noted that the education received by the heroine is rather unsystematic. But neither N.N., nor the reader draws a conclusion about the spiritual limitations of Turgenev's heroine, because, unlike Margarita, Asa has a great desire for knowledge, for self-improvement. “Tell me what I should do? I will do whatever you tell me,” she almost begs N.N.

I agree to everything for you!

You chained by some wonderful force

Me to myself: I'm ready for anything;

And it seems impossible to do more

What have I done for you my dear!

However, the meaning invested in the words of the heroines of two different eras and works is by no means the same. "I will do everything that you tell me" - in the mouth of Turgenev's heroine, it means recognition of the role of the ideological leader for her beloved. In the words of Asya - a thirst for familiarization with genuine spiritual values, a thirst for entering a new round of intellectual and moral development. In the words of Margarita: "I agree to everything for you!" - on the contrary, not the creation, but the destruction of moral prohibitions, the willingness to step over what until recently seemed unshakable. As you can see, here the Russian girl stands at an unattainable height.

Finally, consider the parallel "Faust - Mr. N.N." At first glance, in N.N. there is nothing Faustian. And, nevertheless, both of them are brought together by the tragic role that they happened to play in the lives of their beloved. So, Faust not only did not find happiness and harmony in love for Margarita, but, for his part, acted as a destroyer of someone else's, albeit limited, and yet whole world in his own way.

Like Faust, the hero of Turgenev's story was also destined to become only a destroyer of the hopes of a young soul. The mission of the mentor, with naive gullibility assigned to him by Asya, turned out to be N.N. obviously off the hook.

The main character of the story. Asya - "Turgenev's girl".

The second chapter takes the reader to the opposite bank of the Rhine, where another town is located - L .. In L. Life is in full swing. There is no trace of that silence and tranquility that is typical for Z. Flags flutter in the square, loud music plays. Despite the fact that the hero of the story is more akin to calmness, he is also attracted by a different rhythm of life: "All this joyful boiling of young, fresh life, this impulse forward - wherever it is, if only forward - this good-natured expanse touched and set fire to me "Shouldn't I go to them?" - I asked myself ... "It is important that it was here, at the celebration of life, that N.N. meets Asya - a girl who is life itself.

Asya is by no means a beauty, although she seems "very pretty" to the narrator. Actually outer beauty is not a dominant feature of the "Turgenev girl". "Turgenev girls" - heroines whose minds, richly gifted natures are not spoiled by light, they retained the purity of feelings, simplicity and sincerity of the heart; these are captivating spontaneous natures without any falsehood, hypocrisy, strong in spirit and capable of difficult accomplishments. Personal charm, grace, human originality are important for the author in the guise of his heroines.

Artistic, romantic nature, Asya subtly feels the beauty and poetry of the world around her. “You drove into the moon pillar, you broke it,” she shouts to N.N. The choice of “place of residence” also speaks of this. The brother and sister settled outside the city in a "small house" standing "at the very top of the mountain" and never tire of admiring the beauty of these places. "- Here is our dwelling! - Gagin exclaimed, as soon as we began to approach the house ... look around ... what is the view?". The delight of the hosts is transferred to the guest. “The view was, for sure, wonderful,” the narrator writes. “The Rhine lay in front of us all silver, between green banks; in one place it burned with the crimson gold of the sunset ...”. Nature seemed to have opened its arms to meet its true connoisseurs: "The town sheltered by the shore showed all its houses and streets; hills and fields scattered widely. It was good below, but even better above ... ". However, more than the natural beauties themselves, the heroes are impressed by the expanse that opens from a height. Vulgarity and worldly vanity seem to remain somewhere far below, at the foot of the mountain. Even the sounds of music, "vulgar and rude" near, in the distance, according to Gagin, are perceived in a completely different way: "... All the romantic strings stir in you like that."

The story itself is called "Asya", after the name of the main character, since she turned out to be not only the best in comparison with N.N., but also because she remained unique in the memory of the narrator for life. From the very first minutes of her appearance on the pages of the story, the reader begins to feel that the heroine is shrouded in some kind of mystery. Gagin introduces her as his sister. But she didn't look like her brother at all. The secret of Asya will be revealed after some time from the lips of Gagin himself.

His father, Nikolai Gagin, "a very kind, intelligent, educated man," married early, for love. His wife died when his son was barely six months old. A few years after the death of his wife, Nikolai Gagin got along with his wife's maid, Tatyana. When the younger Gagin entered the cadet school, Asya, the illegitimate daughter of the landowner, was already two years old. Tatyana did not agree to become the master's wife and lived with her daughter with her sister, a cowgirl.

Tatyana, apparently, had an intuitive understanding that she could not correspond to the social role of the lady, that the attitude of the peasants towards her and her daughter would always be ambiguous with a negative connotation. Wanting to avoid slander, she brought up her daughter in strictness, sought to ensure that Asya learned the role of a peasant woman.

Seven years later, Asya was left an orphan and found herself in the master's house. Her father, not daring to recognize her openly as his daughter, said that he took her "to feed." Gagin, telling N.N. Asya’s story, utters the following phrase: “Imagine what should have happened in Asa when they took her to the master. She still cannot forget the moment when she was put on a silk dress for the first time and kissed her hand.”

So what was to happen in Asya's soul?

A deep shock was to be experienced by the child soul, for which the whole world turned upside down. Violated, it would seem, the order established for her by her mother, the order to which everything around obeyed.

Asya, who received the attribute of a noblewoman (a silk dress, living in a master's house, outward respect from the servants), nevertheless did not receive a noble status. She was not a legitimate daughter and felt "to be fed". Her fate completely depended on her father's mood: "... it used to be that I found out from one dad's cough from another room whether he was pleased with me or not."

One social role was taken away from her, and the other was not appropriated.

Artificial isolation from the world also affected the formation of Asya's character: "... except for her father, she did not see anyone." This led to a lack of communication experience precisely at the age when the basic skills of social orientation develop.

Gagin says: “Asya soon realized that she was the main person in the house, she knew that the master was her father; but she also soon realized her false position; pride developed in her strongly, distrust too; bad habits took root, simplicity disappeared. She wanted (she once confessed this to me herself) will make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and proud of her.

She was proud because her mother was a beautiful, simple, strict and intelligent woman; she was ashamed, because, having been born a peasant mother, she could not feel natural in a noble environment; she was ashamed of shame, because she appreciated the best qualities of her mother. The whole being of the girl protested against the artificial and contrived situation in the epicenter of which she found herself.

Later, left an orphan, Asya became attached to her brother, then "survived" in the St. Petersburg boarding school for four years. "Asya was extremely quick-witted, she studied well, better than anyone; but she did not want to come under the general level, she was stubborn, looked beech ... "

After seventeen years, when it became impossible for Asya to stay longer in a boarding house, Gagin retires, takes his sister and goes abroad with her.

Traveling with her brother in Germany, Asya desperately searches for herself, tries to understand the essence of her personality, intuitively feeling that the social role does not yet constitute human individuality. But the world around her is such that all manifestations of the soul are strictly regulated by society.

The romantic inconsistency of Asya's image, the seal of mystery that lies on her character and behavior, give her attractiveness, charm, and the whole story - an inexplicable poetic flavor.

The author reveals the character traits of the heroine through a description of her appearance and actions. About Asya's face, the narrator says: "... the most changeable face that I have ever seen." And then he writes: "Her big eyes looked straight, bright, bold, but sometimes her eyelids squinted slightly, and then her eyes suddenly became deep and gentle ... ". The face and whole appearance of Asya, apparently, match the character of the hostess, has a predisposition to a quick and sudden change. Turgenev almost does not name the feelings that possess the heroine in a given period of time, he paints her portrait in changes, in movement - and the reader understands what is happening in her soul. The writer carefully monitors not only the content of the speeches that the characters exchange, but also the tone in which the speeches are made, and the "duel" of looks, facial expressions, and the wordless communication of the interlocutors.

The main idea of ​​the heroine consists of her actions and behavior in different situations. Asya's behavior can be fully called extravagant. She, with a glass in her hand, climbs over the ruins, then sits over the abyss, then laughs and plays pranks, putting a broken branch on her shoulder and tying her head with a scarf; sometimes she puts on her best dress that same day and comes to dinner with her hair carefully combed, tied up and wearing gloves; then in an old dress she sits quietly at the embroidery frame - just like a simple Russian girl; then, violating all the rules of decency, ready for anything, she makes an appointment with a young man in private; finally, decisively breaks with him and finally leaves the city in order to lose his beloved forever.

What is the reason for such extravagance of the heroine? As a subtle psychologist, Turgenev often forces the reader to draw conclusions by comparing facts.

Another technique the author uses to give a more complete picture of the heroine is reviews of other people about her. First of all, it's her brother. Talking about Asya's childhood years, he draws attention to the abnormal conditions of upbringing, which could not but affect the increased vulnerability, self-esteem. And the heroine herself is constantly thinking about herself, revealing her soul in seemingly randomly thrown words. And then we learn that she dreams of "going somewhere far away, to prayer, to a difficult feat ... Otherwise, the days go by, life will go away, but what have we done?"

Far from being an ordinary girl, she dreams, as Gagin says, of a hero, an extraordinary person, or a picturesque shepherd in a mountain gorge.

Asya is attracted by romantic distances, she longs for activity and is sure that "to live not in vain, to leave a trace behind herself", and also to accomplish a "difficult feat" is within the power of any person. N.N. long ago I lost faith in such things. And of course, the wings that Turgenev's hero mentions are the wings of love, first of all. deep meaning the narrator's statements about the wings that a person can grow go beyond the love theme. When they talk about inspiration, they mean the ability of a person to soar above the ordinary. This metaphor is so close and understandable to Asya that she immediately “tryes it on” for herself (“So let’s go, let’s go ... I’ll ask my brother to play a waltz for us ... We’ll imagine that we are flying, that we have grown wings”), highlights the dominant character heroines: the disturbing impulsiveness of the soul in its striving for the sublimely ideal. Thus, Asya's character is contradictory, her actions are often unpredictable, like life itself. N. N. is afraid of Asina's "strangeness", afraid of surprises and worries that his marriage to her promises him.

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

But she had to be bitterly disappointed: Mr. N.N. does not belong to the number of heroes capable of a bold feat, a strong, selfless feeling. In his own way, he is sincerely passionate about Asya, but this is not real love free from doubt and hesitation. When Gagin directly puts the question before him: "After all, you will not marry her?" - he cowardly avoids a clear answer, because the inevitability of a quick, almost instant decision tormented him. Even alone with himself, he does not want to admit that he is frightened not only by the wild temper of a seventeen-year-old girl, but also by her “doubtful” origin, because lordly prejudices are too deeply ingrained in his nature. In the scene of the last meeting with Asya, Turgenev debunks his hero, portraying him as an indecisive, weak-willed and cowardly person.

Last date.

Scene last date prepared by all the previous dynamic plot development of the story: a casual acquaintance of the characters, their meetings and conversations. The date is appointed by Asya herself, acting in this case as Pushkin's Tatyana, - like she, the first to confess to the chosen one of her heart in love.

Asya's feelings for N.N. deep and irresistible, it is "unexpected and also irresistible, like a thunderstorm," according to Gagin. Let's pay attention to the artistic space of the episode. Date N.N. and Asya takes place in a small, rather dark room, in the house of the burgomaster's widow, Frau Louise. The closeness and seclusion of the space in which the meeting scene takes place emphasize Asya's secrecy, the depth of her feelings for N.N.. Most of the other meetings of the characters take place in an open natural space.

The meeting scene most clearly reflects the psychological contradiction, the discrepancy between the psychological rhythms of N.N. and Asi. 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 dark room.

On the contrary, N.N., who takes the initiative in the dialogue, is verbose, as if 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. Love N.N. to Asya, obeying the whimsical game of chance or the fatal predetermination of fate, it will flare up later, when nothing can be corrected.

The hero himself admits this: "When I met her in that fatal room, I still did not have a clear consciousness of my love ... it flashed with irresistible force only a few moments later, when, frightened by the possibility of misfortune, I began to look for and call her ... but it was too late then."

Thus, the date scene in which the reader meets for the last time main character story, finally clarifies the complex, contradictory nature of the heroine. Having experienced a whole gamut of feelings in a short time of meeting - from timidity, an instant flash of happiness and complete self-giving (“Yours ... - she whispered barely audibly”) to shame and despair, Asya finds the strength in herself to stop the painful scene and, having overcome her weakness, " with the speed of lightning "disappears, leaving N.N. in complete confusion.

And so ends the love story of a strange girl Asya.

Turgenev is inclined to condemn N.N.'s indecision. He explains such a decision by the well-known frivolity and even irresponsibility of youth, the young man's belief that life is endless and everything can happen again. Obviously, that is why in those years he did not grieve for Asa for too long, only many years later he realized the significance of meeting her in his life. Postponing a decision indefinitely is a sign of mental weakness. A person should feel a sense of responsibility for himself and others in every minute of his life.

So why did the happiness of the heroes not take place?

Perhaps because mental life Asya and N.N. proceeded differently. Asya experienced the culmination of feelings during a date, and N.N. at that moment he was only ready to enjoy romantic contemplation; he did not then feel in himself that which takes away prudence and caution. The realization of the feeling of love for him came later. The reasons for the life drama of the heroes lie in the difference in their psychological make-up, their temperaments.

The story "Asya" provides many opportunities for organizing research activities of students.

While reading "Asya", the students for the first time meet with a work about love, which they will discuss in class. Much depends on how serious this discussion will be in further work with the material devoted to this topic. In our opinion, one should not focus on talking about the prototypes of the heroes of the story: all attention should be directed to the analysis of the text.

Chapter III. Practical part

Before starting to write our work, we put forward a hypothesis. An experiment was carried out to confirm our assumption.

The practical task was worked out at school No. 41 in the 7th "a" class. 17 people took part in the experiment. On the parallel of the seventh grades, this class is the strongest. Students do well in literature. In the lesson, children actively work, express their opinions, successfully perform independent work. The literature program, according to which schoolchildren study, provides for the study of the story "Asya" in the 8th grade, so we studied the story as an elective.

Students study literature according to the textbook edited by G.I. Belenky. The students' attention is focused on the outstanding works of Russian writers. Schoolchildren get a general idea about the writers - their life and work, about the connection of the studied works with the historical conditions in which they were created and which were somehow reflected in them. Two main ideas of the literature course can be distinguished in the program: love for the motherland as the basis of human life; the meaning of life, to the realization of which at a certain stage a person approaches. The patriotic idea is expressed in a number of works in a direct form.

The study of literature in the seventh grade plays a crucial role, since it is during this period that the intensive formation of the value orientation of schoolchildren takes place. In this situation, the role of the teacher's personality increases, it becomes especially important moral issues raised by literature.

When studying a work, it is important for the teacher to take into account all stages of the student's acquaintance and further work with the text: primary perception and understanding, analysis, in-depth understanding, evaluation.

The student moves from understanding the meaning of the word in the work to the ability to formulate his own thought, to express his impression of what he read. The authors of the program recommend that the teacher pay attention to the work on the development of speech, to expand the vocabulary of students, to the ability to formulate their own thoughts and impressions.

Before starting the study of the story "Asya", we conducted a questionnaire with the students. The questionnaire included questions relating to the life and work of the writer and several questions about the story "Asya". None of the students completed the questionnaire. 11% made seven and six mistakes, 41% of students made five mistakes, 23% made four mistakes, 6% made three mistakes and one mistake. Most of the mistakes were made in questions that relate to students' understanding of the story "Asya".

Lesson outline.

Class 7 "a".

Theme: The theme of love in Ivan Sergeevich Turgenev's story "Asya".

Educational - to prepare students for the perception of the story "Asya"; follow the birth of love between Asya and Mr. N.N. and for its development; identify the means by which the author conveys the psychological state of the characters; episode analysis training.

Developing - to form the skills of oral coherent speech; develop expressive reading skills.

Educational - to form students' interest in Russian literature; contribute to the education of students of moral qualities.

Methodological techniques: teacher's word, conversation, expressive reading, analysis of literary text.

Type of analysis: analysis of the development of action with elements of analysis artistic image.

During the classes:

Love, love is a mysterious word.

Who could fully understand you?

Are you always old or new in everything?

Are you vexation of the spirit or grace?

Lesson stage	Teacher activity	Student activities	Notes
Orgmoment Preparatory stage Analysis of the 16th chapter. Generalization. Questions for generalization. Summarizing.	Greeting students. Reporting the date and topic of the lesson. Microgoal: to prepare students for the perception of the story "Asya". The teacher reads the lines of the epigraph. It was not by chance that we began the lesson on the story "Asya" by reading these poetic lines. Love... This is probably the most important and intimate of all human feelings. And Turgenev, as, perhaps, one of the few writers, recalls with poetic awe the birth of an eternally young feeling - love. How to deal with heart disease, how to overcome sadness? Unrequited love - what is it? How to be the first to say "I love" to a person in whom you are not entirely sure? How to endure the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who loves! Colors are brighter, sounds are clearer! Having fallen in love, a person feels more subtle, sees more sharply, his heart opens to beauty and goodness. Questions and questions... We will not find direct answers to them in Turgenev, but all Turgenev's heroes pass the "test of love", a kind of test of viability. And at the word "Turgenev's girl" a number of special visions arise: And there in the distance, where the grove is so foggy, Where the meadow barely trembles over the path - Elena, Lisa, Masha, Marianna, And Asya, and the unfortunate Susanna - Gathered in an air crowd. Familiar bizarre shadows Creations of love and beauty And an effective and feminine dream, - They were called to life by a pure, gentle genius, He gave them form, colors and features. Three stories: "Asya", "First Love", "Spring Waters" - Turgenev wrote about his first love. Biographical features formed the basis of "Asia". In 1842, an illegitimate daughter, Pelageya (later Polina), was born to Turgenev from a serf peasant woman, Avdotya Ermolaevna. For a long time the girl lived in the Turgenev estate, in Spassky. Her position was humiliating and miserable. The mother of Ivan Sergeevich handed over her granddaughter to the arms of one of the serf laundresses. The maid called Polya gloatingly "lady". In 1859, Ivan Sergeevich took his daughter to Paris, to Pauline Viardot, who then raised the little Field with her children. That is, Turgenev's daughter received a quite decent noble education - in a word, exactly the story of Asya, her story strange life woven from contradictions. The teacher draws the attention of students to the words written on the blackboard: Happiness has no tomorrow... He has a present - and that is not a day - but a moment I.S. Turgenev And happiness was so possible ... A.S. Pushkin At the end of today's lesson, you and I will have to answer the question: "Why does happiness have no tomorrow, what prevented the main characters from becoming happy?" Did you like the story? Which character made the biggest impression on you and why? Which episodes do you think are the most important and why? How did N.N. and Asya? What is the state of mind of N.N. after the first day of dating? Where did you meet N.N. and Gagin Asya on the second day of dating? What does it say? How does Asya feel in N.N.? Confirm with text. How does the second day of dating end? Two weeks of daily meetings have passed. N.N. he was more and more upset by jealous suspicion and, although he did not fully guess about his love for Asa, she gradually took possession of his heart. He was in the grip of this feeling. What mood was dominant during this period? How is the suspicion of N.N. that Gagin and Asya are not brother and sister? What feelings take over the hero after this? What did N.N. about Asa from the brother's story? How does it change state of mind? How do you understand Asya's words: "If you and I were birds, how would we soar, how would we fly. So we would drown in this blue..."? What did N.N. on this day after Gagin's sister's story, the merry waltz with Asya and her call to imagine that they have grown wings? How does Turgenev, through his landscape sketch (Ch. 10), help readers to understand psychologically the state of the hero at this moment? Microgoal: determine the role of chapter 16 in the story. "The scene of Asya and N.N. meeting in the house of Frau Louise" What events are described in this chapter? In what state was N.N. on a date with Asya? Did you like N.N. in this scene? What does he accuse Asya of? How does he want to justify himself? How does Asya behave during the rebuke? How do you understand the role this chapter plays in the story? The main theme of the story is love, the plot is based on a love story. Why do you think this love ended in separation? The story is called "Asya", after the name of the main character. Why do you think? Can Asya be called a beauty? Actually, external beauty is not the dominant feature of the "Turgenev girl". Personal charm, grace, human originality are important for the author in the guise of his heroines. - What creates an idea about Asa? Now let's go back to the question we asked at the very beginning of our lesson. So why did the happiness of the heroes not take place?	Teacher greeting. Record the date and topic of the lesson. Mr. N.N. all mellow with sweet languor and the expectation of happiness. On the ledge of the wall, on the ruins of a feudal castle, Asya sat right above the abyss. This speaks of romantic character heroines. Dislike, annoyance. 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. Persistent curiosity, some annoyance at the mysterious, inexplicable behavior of the girl, the desire to understand her inner world. Overheard conversation in the gazebo. The hero himself does not find an exact definition of his feelings. But the reader already understands that he was captured by a deep and disturbing feeling of love. It is from him that he goes to the mountains. Selective retelling of Asya's story. He instantly regains his lost balance and defines his state in this way: "I felt some kind of sweetness - it was sweetness in my heart: it was as if they secretly poured me honey into it ...". Love inspires a person, lifts him above the ordinary. N.N. I felt, on the one hand, a secret anxiety, on the other, an intoxication with the joy of rapprochement; he had a thirst for happiness. The landscape, as it were, absorbs the psychological state of a person, becoming the "landscape" of the soul. It is at this moment of merging with nature in the inner world of the hero that a new leap is made: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya, but which the hero has not yet dared to call by name. 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." Doubt, hesitation. The meeting scene, in which the reader meets the main character of the story for the last time, finally clarifies the complex, contradictory nature of Asya. Having experienced a whole gamut of feelings in a short time of meeting - from timidity, an instant flash of happiness to shame and despair, Asya finds the strength in herself to stop the painful scene and, having overcome her weakness, "with the speed of lightning" disappears, leaving N.N. in complete confusion. Because of the internal failure of the hero, who failed to take responsibility for the fate and happiness of the girl who fell in love with him. Since it not only turned out to be the main one, i.e. the best, in comparison with N.N., but also because it remained unique in the memory of the narrator for the rest of his life. Students find the details of the portrait in the text. Asya is by no means a beauty, although she seems very pretty to the narrator. The main idea about Asa is created by her actions, her behavior in different situations. Because the spiritual life of Asya and N.N. proceeded differently. Asya experienced the culmination of feelings during a date, and N.N. at that moment he was only ready to enjoy romantic contemplation; he did not then feel in himself that which takes away prudence and caution. The realization of the feeling of love for him came later. The reasons for the life drama of the heroes lies in the difference in their psychological make-up, their temperaments.	A trained student speaks. One student reads the words written on the board. The end of chapter 6 - the beginning of chapter 7 is read out.

As we have already noted, the story "Asya" provides many opportunities for organizing learning activities students. The main technique to help organize the research activities of students in our lesson was the method of setting problematic questions and assignments. One of the students was offered a research task in advance: it was necessary to answer the question - "What biographical information formed the basis of the story?". Also, before starting a conversation on the story "Asya", a problematic question was posed to the students, to which they had to answer at the end of our lesson: "Why did not the happiness of the heroes take place?". In addition, in the course of the conversation, students were also asked various problematic questions (What role does chapter 16 play in the story? Can Asya be called "Turgenev's girl?").

After the lesson was over, the students were asked to re-survey. We got the following results: 24% of students completed the work without errors, 6% made one mistake, 23% made two mistakes, 6% made three mistakes, 18% made four mistakes, 17% made five mistakes, 5% made one mistake.

Thus, we can conclude that our hypothesis was confirmed. The organization of research activities of students during our lesson contributed to a deeper perception of the literary text. This was also confirmed by the results of the student survey.

Conclusion

We can conclude that research work in literature lessons should be considered from two points of view: as a teaching method and as a level to which schoolchildren can rise in their activities.

Research work as a teaching method is the development of the ability to independently analyze a literary work. The main technique in the research method of teaching is the formulation of problematic questions, research tasks.

Of course, research activities cannot cover the entire pedagogical process. It has been historically proven that a student cannot acquire the entire amount of knowledge only through personal research and the discovery of new laws and rules for him. Nevertheless, research activity is necessary when conducting a modern literature lesson, because modern lesson- this is, first of all, such a lesson in which the teacher skillfully uses all the possibilities of the student. Due to its flexibility, variability, being a free search area, research directly responds to the interests and needs of students, contributes to the realization of the creative potential of the individual, influences the formation of value orientations, tastes.

Despite the fact that research activities do not provide solutions to educational problems that require sensory-figurative thinking, that is, activities that are of the nature of practical or artistic creativity, it is associated with the solution of cognitive tasks and educational tasks with problematic content, with the practical activities of students, with the collection of additional information, new facts from various sources. Research activity as a result of solving a theoretical problem allows the student to "discover" new knowledge or a mode of action.

Based on the foregoing, we can conclude that research activity helps to increase the depth of awareness and understanding of the work, and also contributes to a more effective perception of the literary work by schoolchildren. Therefore, right now there is an urgent need to understand the specifics of student research in literature, in the methodology for organizing the research activities of schoolchildren.

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Application

1. Turgenev's name was:

Ivan Stepanovich;

· Ivan Semyonovich;

Ivan Sergeevich.

2. The years of the writer's life:

· 1918 – 1993;

· 1818 - 1883;

1718 - 1783.

3. Name the first printed story from the cycle of I.S. Turgenev "Notes of a hunter":

· "Biruk";

· "Two hunters";

Khor and Kalinich.

4. The main theme of "Notes of a hunter":

· The theme of love;

· The theme of denunciation of serfdom;

The theme of the search for the meaning of life.

5. What image entered the literature along with the works of I.S. Turgenev:

· The image of the "Turgenev girl";

· The image of "Turgenev's love";

· The image of "Turgenev's Russia".

6. What female name was placed in the title of one of the stories of I.S. Turgenev?

7. The story "Asya" is included in the cycle of stories:

· "Spring waters";

· "First love".

8. The main theme of the story "Asya":

· The theme of love;

In the senior classes, where special attention was paid to the consideration of problem situations in the lesson. The purpose of this stage of the study is to identify the didactic possibilities of exploratory teaching methods in literature lessons in high school. characterizing senior school age in the studies of L.I. Bozhovich show that the orientation of the individual, including the moral orientation, is laid long...

Thus, the circle of reading of schoolchildren, built by the teacher, can be expanded through project teaching and research activities. 2. Overloading the program with translated works is considered as irrational. At the same time, a literature course for the senior classes of a specialized school can be supplemented by an elective course, which examines the contextual connections of Russian literature with foreign ones ...

Taking into account gender differentiation, they will make it possible to find forms that reflect the symbols of women's experience, thereby forming gender poetics. Among the theoretical problems that make up the gender aspect of literary criticism, the question of the typology of women's prose is of paramount importance. The typology of the work of women writers can be built on different grounds, but in this case we are interested in the problem...

gg. a series of historical studies of the famous Tatar writer and public figure G.Yu. Kulakhmetov (1881-1918) under the title "Pages of History", dedicated to world history from ancient times. His popular articles in periodicals are known, which explained the essence of the constitutional system of a number of Western countries, analyzed the constitutions of Great Britain, ...

The story "Asya" is a touching story about unfulfilled love. The main characters are sometimes compared to Romeo and Juliet, although there were no such obstacles in their way as those of Shakespeare's lovers. The reason why a pure high feeling remained only a memory lies not in external causes, but in the characters of the main characters.

The birth of a feeling

Film frame

The protagonist, who hides under the initials N.N., travels around the world. After staying in a European town, he goes to a student event. N.N. does not like to communicate with Russian people abroad, but one couple attracts his attention: a young handsome young man and his mysterious companion. Between young people easy communication is fastened. The new acquaintance's name is Gagin, and his companion is Asya. They are brother and sister, as it turns out a little later - half-father. Mr. N.N. begins to visit them often, believing that he sympathizes with Gagin, this man with a real Russian soul. But little by little he realizes that Asya attracts him more. This unusual pretty girl likes the hero. But her behavior is not always clear to Mr. N.N. The heroine often behaves like a capricious child. But sometimes her features are transformed and her bright sad look excites the hero. Asya also falls in love with Mr. N.N. But, being still very young, she does not know how to properly attract his attention.

Lovers from different worlds

Mr. N.N. And Asya have feelings for each other. But they are very different people. The hero is accustomed to approach everything reasonably, because feelings seem dangerous to him. The same applies to the choice of a future wife. In the secular world in which he grew up, the image of the ideal wife is a compliant woman with good manners, a shadow of her husband. The image of Asya did not fit into such stereotypes. She is a wild element, capable of both creating and destroying. Asya's originality attracted Mr. N.N., but it was also precisely this that alarmed him, frightened him. Plus, she's only 17 years old. And the idea of ​​marrying an underage girl seemed stupid to the protagonist. Therefore, he hesitated with a declaration of love.

Asya's confession

The heroine could not find a place for herself after meeting with Mr. N.N. First love arose so suddenly and covered her head. She is still young and does not know how to behave with her lover. Therefore, Asya behaves strangely: either she sits quietly, then she suddenly breaks down and runs away somewhere, then she laughs insolently, then she looks very thoughtfully and sadly.

However, despite her young age, it is Asya who decides to take the first step towards love. Not knowing how to cheat, she simply confesses her feelings to him. The heroine is waiting for Mr. N.N. understand her and say the right words, but he hesitates. Instead of talking honestly with the girl, the hero tells everything to her brother. Gagin immediately understands that his friend is not ready for marriage. He is not angry, because he also considers such a marriage inappropriate.

Awareness of error

Mr. N.N. returns to his place, but the next day he realizes what a mistake he made, because he loves Asya! He comes to the Gagins to ask for the girl's hand and heart. But they had already left, and the hero never met them again. However, the narrator will keep the love for this strange, mysterious girl forever.

At the beginning of the story, the hero is already a mature person, but he remembers his first love with tenderness. He realized that he had made a mistake by not saying simple words to Asya about his true love.