DUBROVSKII
(Novel, 1832-1833; published 1841)
Masha, Marya Kirilovna Troekurova - the tender daughter of a formidable provincial tyrant; a seventeen-year-old beauty who is in love with twenty-three-year-old Vladimir Dubrovsky, the heir to a landowner ruined by her father. Age; the white dress of a county lady; a French tutor (Mamselle Mimi, who adopted Sasha, M.'s half-brother, from Kirila Petrovich Troekurov); a huge library composed mainly of French writers of the 18th century. and being at the complete disposal of an ardent reader of novels - all these components of the image of M., in different combinations, are inherent in different heroines of Pushkin. Against a stable background, individual traits are more noticeable: secrecy, inner loneliness, hardness. The character was brought up by circumstances: the father either indulges his beloved daughter, or frightens him with the indomitability of anger; the neighbors are afraid of Troekurov - sincerity is excluded; Kiri-la Petrovich's amusements do not allow female society; stepbrother is too small; mother died.
Without a mother (and, in fact, without a father who does not care about him), Vladimir Dubrovsky also grows up, the son of the only one of the Troekurovsky neighbors who - despite his poverty - is “allowed” not to be afraid of Kirila Petrovich. It brings children closer; but their friendship does not last long: at the age of 8, Vladimir is sent to study in St. Petersburg, and when he returns, an insurmountable social abyss already lies between him and M.. Families in deadly quarrel; Troyekurov unjustly sued the Dubrovskys for their only estate; Dubrovsky Sr. died, and his son did not let Kirila Petrovich, who appeared with a belated offer of peace, on the threshold.
In the same way, for the most part, the plot positions in which the author puts M. are recognizable, traditional. rose, and M., in turn, is shown embroidering a rose on a hoop. The devastated Dubrovsky, who has become a robber, comes into the house under the guise of Deforge, little Sasha's French teacher; it is natural that M., brought up in an aristocratic spirit, does not notice him - just as she would not notice a workman or a servant; and it is just as natural that the composure with which Dubrovsky-"Deforge" kills an angry bear (one of Troekurov's amusements) amazes her romantic imagination. The plot move following this was repeatedly used by writers and playwrights: the music lessons that the heroine in love gives to the heroine in order to find a way to her heart. In the end, like Marya Gavrilovna from the story "The Snowstorm", M., not knowing who is hiding under the mask of Deforge, goes on a first date, preparing a scenario for a spectacular refusal. And, like her, she was struck by the unexpectedness of the denouement. Vladimir opens up to her, declares his love, announces the impossibility of marriage and that he must run away from the Troekurov house, because the deceit is about to be discovered.
The time comes for another literary parallel; as the heroine of Mickiewicz's poem "Konrad Wallenrod", M. becomes the beloved of a noble robber. The reception with the ring that the hero gives to the heroine is also customary, so that in case of danger she lowers this ring into the hollow of an oak. This will mean that M., in spite of everything, asks Dubrovsky to take her away from home.
And just as literary-recognizable traits sharply set off the individuality of M.'s character, so the typical set of plot points of a love-adventurous novel leads her step by step to the final tragedy of self-denial. Betrothed to the fifty-year-old aristocrat Vereisky, M. in desperation gives a sign to Dubrovsky; the robber groom is late and stops the wedding procession only on the way back from the church; married M. refuses to break the oath of lifelong fidelity given to Vereisky. In this final choice, she is likened to Tatyana Larina. But the fact of the matter is that Tatyana's act is emphatically unliterary; which means that the parallel with her also brings the image of M. Troekurova beyond the framework of a purely literary tradition, transferring it to the area of a national tradition. It cannot be said that out of two misfortunes - to become a runaway companion of a beloved robber or a submissive wife of a hated old voluptuous man - she chooses the lesser. She chooses no less and no more, but one that does not require treason. And, therefore, she refuses Dubrovsky as a Russian woman, and not as the heroine of a European novel; this is more than important for Pushkin.
THE IMAGE OF MASHA TROEKUROVA IN THE STORY "DUBROVSKII"
The features of Pushkin's favorite female image in all works are the same: young, smart, noble, dreamy, beautiful ... That was Masha Troekurova in Dubrovsky, that was Masha Mironova in " Captain's daughter”, such, but disclosed most fully and comprehensively, was Tatyana in “Eugene Onegin”. It can be said that this is the same image, of the same woman, only executed in different ways: Masha Troekurova is only sketches for a portrait, and Tatyana is a bright, expressive portrait, made with rich colors.
Masha Troekurova, like other heroines of Pushkin, grew up in the silence of the village, in the bosom of nature. Her mother was replaced by a nanny, a kind, modest peasant woman who knew countless folk tales and songs and with pleasure passed them on to her pupil. The girl grew impressionable and responsive to someone else's grief. Later, after "a break from all sorts of writing, she settled on novels," which made her meek, sensitive, and dreamy. As for Kirila Petrovich, he loved his daughter “before. madness, but treated her with his characteristic waywardness, now trying to please her slightest whims, now frightening her with harsh and sometimes cruel treatment. Such inconstancy of the father led to the fact that Marya Kirilovna, although she revered him, did not find a friend in her father.
The sentimental novels that Masha read, her seventeen-year-old age caused the girl's heart to live in anticipation of beautiful and passionate love. Among the father's guests, cheeky and dissolute, like himself, there was no one to whom Masha's heart could rush: everyone was only interested in hunting, feasting and talking about profit. And therefore, when a young French teacher came to the house of the Troekurovs, to Masha's half-brother, and it was after he boldly and courageously defended himself from the bear, Masha realized that this was He, the hero of "her novel." The incident with the bear made a strong impression on the girl, “her imagination was amazed: she saw a dead bear and Deforge, calmly standing over him and calmly talking to her. She saw that courage and proud pride do not exclusively belong to one class.
When, on a date assigned to her by De Forge, Masha finds out the truth that he is none other than, she is frightened, but the timidity and tenderness in Vladimir's voice make the girl believe him and not give up her love. On the second secret meeting with Dubrovsky, heartbroken that her father is going to marry her to an old, unloved man, Masha, despite public opinion, agrees to run away with her lover. And yet fate decreed otherwise - the escape did not take place.
Before the wedding, Marya Kirilovna was pale and motionless, “her head bowed languidly under the weight of diamonds, she trembled slightly when a careless hand pricked her, but was silent, staring senselessly in the mirror.” At the altar she "saw nothing, heard nothing" and was still waiting for Dubrovsky. But her expectations were in vain.
The nobility of the soul, an extraordinary sense of responsibility and duty to her husband, albeit unloved, and to God forced Masha to refuse Dubrovsky's belated help. She, like Tatyana Larina later, was not able to break the oath of allegiance, because for her these are not just empty words, but a sacrament made in heaven. The morality that the girl learned from childhood and which her whole soul was imbued with taught her to be responsible for her words and deeds. This is the dignity and life drama of Masha Troekurova
On the pages of A. S. Pushkin's story "Dubrovsky" we meet with two most fully outlined female images: Masha Troekurova and nanny Vladimir Dubrovsky - Yegorovna. Neither the difference in years, nor belonging to different classes prevent these women from seeming equally attractive to us.
Concerning main character story, Marya Kirilovna Troekurova, then, in my opinion, her image echoes the image of the main character of another work by A. S. Pushkin - Tatyana Larina. In "Dubrovsky" it is simply, so to speak, sketches, outlines of that favorite image that Tatiana will later become for the author. In my view, Masha Troekurova and Tatyana Larina are a portrait of the same woman, but in the first case, made only in black and white, and in the second - bright, colorful, with all kinds of shades.
What was Masha Troekurova like, if she could so completely and undividedly take possession of the heart of a young and noble robber, a former pupil of the cadet corps, Vladimir Dubrovsky? To say a beauty is not enough, because there are so many beauties around, hiding a callous soul under the mask of an impeccable appearance. In Marya Kirilovna, on the contrary, everything was harmonious. She lost her mother early, grew up alone in the bosom of nature, absorbed the mysterious and mysterious stories of oral speech from childhood. folk art, which abounded in the stories of a kind nanny-peasant, and then tasting the sweetness of sentimental novels, which Masha, having matured, read, made her meek, sensitive and dreamy.
Marya Kirilovna revered her father, but she did not find a friend and adviser in him, as is often the case between parents and children. Although Kirila Petrovich “loved her to the point of madness, he treated her with his characteristic waywardness, either trying to please her slightest whims, or frightening her with harsh and sometimes cruel treatment. Confident in her affection, he could never win her confidence.
When a young teacher for Masha's half-brother came to the Troekurovs' estate and from time to time began to give music lessons to her, the girl soon found in him the hero of her novel. Masha was subdued in the young teacher by his nobility, zeal, and especially his courage: “Her imagination was amazed: she saw a dead bear and Deforge, calmly standing over him and calmly talking to her. She saw that courage and proud pride do not belong exclusively to one class ... ”Since childhood, accustomed to seeing men in her house who are similar in behavior to her father: domineering, reckless, thinking only about money and gain, in the teacher Masha found the complete opposite. Never dreaming of wealth, accustomed to being content with little, and, on the contrary, highly appreciating the spiritual wealth of a person, Masha felt a kindred nature in the young man, and her heart meekly succumbed to his calling heart.
Having soon learned that the teacher Deforge is none other than Dubrovsky, a well-known robber who has long been wanted by the police, Masha, although frightened, did not renounce him. Having learned about her father's intention to marry her to an unloved but rich man, Masha decided to run away with Dubrovsky. But fate was pleased to take away her last chance to be with her beloved: the escape failed.
Masha the bride is deathly pale, there is not a drop of blood on her face. Standing at the altar, “Marya Kirilovna saw nothing, heard nothing, thought of one thing, since morning she had been waiting for Dubrovsky, hope did not leave her for a minute ...”. But the miracle did not happen - Dubrovsky did not come. The rite was completed.
And when, already after the church, the cries of the chase were heard behind the carriage, and Dubrovsky with his people tried to free Marya Kirilovna, the young princess, having gathered all her strength, firmly opposed, saying at the same time that she was already married, she was the wife of another.
Just like Tatyana Larina from Eugene Onegin, Masha is not afraid to admit that she loves Dubrovsky, and just like Tatyana, she cannot betray the one whom she called her husband before God. And it's all about morality, a sense of duty and responsibility, on which Masha grew up and which she firmly absorbed into herself. Honor and duty are dearer to her than love. This is the dignity of the main character of "Dubrovsky", and the life drama.
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-
On the pages of the story A. S. a
"Dubrovsky" we meet with two of the most
more fully outlined female images
zami: Masha Troekurova and nanny Vladimir
Dubrovsky - Egorovna. No difference in
yes, no belonging to different classes
do not prevent these women from appearing to us
equally attractive.
As for the main character of the story, Ma-
Rya Kirilovna Troekurova, then, in my opinion
look, her image echoes the image of the main
the heroine of another work by A. S. Push-
kina - Tatyana Larina. In "Dubrovsky"
it is simple, if I may say so, sketch-
ski, the outlines of that favorite image, which
Kim will later become for the author Tatyana.
In my mind, Masha Troekurova
and Tatyana Larina is a portrait of one and the same
same women, but in the first case performed-
ny only in black and white colors, and in
the second - bright, colorful, with all sorts of
shades.
What was Masha Troekurova like, if
could so completely and undividedly take possession
heart of a young and noble robber
ka, a former pupil of the cadet corps
sa Vladimir Dubrovsky? Say beauty-
vitsa - not enough, because around so
many beauties hiding under the mask
impeccable appearance callous soul.
In Marya Kirilovna, on the contrary, everything was guaranteed.
monichno. Losing her mother early, growing up in
loneliness in the bosom of nature, since childhood
embracing the enigmatic and mysterious
plots of oral folk art, which
rymi abounded with stories of a good nurse -
peasant woman, and then tasting the sweetness of senti-
mental novels that Masha,
growing up, reading, made her meek,
whimsical and dreamy.
Marya Kirilovna revered her father,
but a friend and adviser in him, as is often the case
between parents and children, I did not find it.
Kirila Petrovich, although he “loved her to the point of
mia, but treated her with his characteristic
waywardness, then trying to please the male-
to her whims, sometimes scaring her with harsh, and sometimes
and ill-treatment. Confident in her
affection, he could never achieve it
confidence."
When he appeared on the estate to the Troekurovs
young teacher for half-brother Masha
and from time to time began to give music lessons
ki and her, then soon the girl found in him a gene
swarm of his novel. Masha was conquered in youth
the house of the teacher, his nobility, zeal and special
benno - his courage: “Imagination of her would-
lo amazed: she saw a dead bear
and Deforge, calmly standing over him and
talking to her calmly. She sees.
deeds that courage and proud pride do not
belong exclusively to one estate
viyu ... "Since childhood, accustomed to seeing in her
house of men similar in behavior to their
his father: domineering, reckless, thinking
only about money and gain, in the teacher Masha
found the exact opposite. Never
not dreaming of wealth, accustomed to
to be content with small, and, conversely, high
appreciating the spiritual wealth of man, Ma-
sha felt a kindred in the young man
venous nature, and her heart resignedly
was given to his calling heart.
Learning soon that the teacher Deforge is
none other than Dubrovsky, a well-known
a gunner, who has long been looking for
licia, although Masha was frightened, she did not
get away from him. Upon learning of her father's thoughts of betraying her
marry an unloved but rich man,
Masha decided to run away with Dubrovsky. But
fate was pleased to take away her last
a chance to be with a loved one: the escape failed.
Deathly pale Masha the bride, on the face
tse - no blood. Standing at the altar, "Maria
Kirilovna saw nothing, heard nothing
hala, thought about one thing, since the morning she has been waiting
la Dubrovsky, hope for a moment does not
left…” But-the miracle did not happen - Dubrov-
Sky didn't come. The rite was completed.
And when, after the church, behind the carriage
shouts of pursuit were heard, and Dubrovsky
his people tried to free Ma-
Ryu Kirilovna, the young princess, having collected
with all her strength, with firmness opposed,
saying at the same time that she was already married, she
another's wife.
Just like Tatyana Larina from
"Eugene Onegin", Masha is not afraid of
to know that he loves Dubrovsky, and just like that
the same as Tatyana, cannot betray the one who
She called him her husband before God. And all
it's about morality, a sense of duty and responsibility
veins on which Masha grew up and who
rye firmly absorbed. Honor and duty
more precious to her than love. This is worthy
in the main character of "Dubrovsky", and the life
naughty drama.The characteristic of Masha Troekurova is very important for understanding one of the most famous novels A. Pushkin "Dubrovsky". This heroine, being the main acting female character, occupies a central place in this work, since it is with her that love line, the main intrigue of the novel, as well as its denouement. In addition, the girl played an important role in the development and evolution of Dubrovsky himself, since his love for her made him abandon his plan of revenge.
Origin
The characterization of Masha Troekurova should begin with a description of her social place in society. She was the daughter of the landowner Kirill Petrovich, who was known throughout the district for his tough and wayward character. His feud with the protagonist's father led to the death of the old Dubrovsky, which provoked a conflict between the two families. However, the girl obviously did not go to her father. The characterization of Masha Troekurova shows the versatility of her personality.
She was kind, gentle and sympathetic, although she was not devoid of some of the class prejudices inherent in people of his circle. So, for example, when Vladimir appeared in her father's house as a tutor, the girl initially looked at him as an ordinary servant. But at the same time, she was able to appreciate his mind and nobility: when the imaginary Frenchman during the next Troekurov prank was not afraid of the bear that attacked him, and at the same time, in order to run, he was not at a loss and shot the predator, the girl changed her mind about him and since then since then she began to respect him (as, indeed, all the other inhabitants of the estate).
Upbringing and education
The characterization of Masha Troekurova will help students understand the conditions in which Russian young ladies lived and were brought up in the provinces in the first half of the 19th century. At that time, knowledge of the French language was considered a good form rule for the nobles. The heroine, unlike her father, knew him very well, so she served her father as an interpreter in communication with an imaginary teacher. From Vladimir, who called himself Deforge, she took piano lessons.
At the time in question, it was believed that every young lady should be able to sing and play musical instrument. During these classes, Dubrovsky and Masha Troekurova quickly found a common language and in the end became friends.
Relationship with family
The heroine loved her father, but from the text of the work the reader understands that at the same time she was very afraid of him and almost never dared to disobey his instructions. And only when Kirill Petrovich decided to marry her against her will to the old, but rich and influential Prince Vereisky, she first showed disobedience. By that time, Dubrovsky and Masha Troekurova had already fallen in love with each other, so the girl resisted her father's decision with all her might. However, she could not fight him on her own and, without waiting for help from Vladimir, who was late, she married the prince. The girl loved her younger brother, although the author shows this in just one scene. However, the episode in which the boy offers to help her is significant - it shows their affection for each other.
love line
The image of Masha Troekurova is fully revealed in her relationship with Dubrovsky. As mentioned above, the young girl sincerely became attached to her music teacher, not suspecting that a formidable leader of the robbers was hiding under the guise of a modest Frenchman.
She also noticed that she herself made a rather strong impression on him, and expected from him a love confession, which was not slow to follow along with the disclosure of the identity of the imaginary teacher. The girl had the courage not to betray her interest in Dubrovsky, moreover, she decided to remain faithful to him, despite the ambiguous situation in which the lovers fell.
denouement
The image of Masha Troekurova occupies a central place in the work along with the main intrigue of the novel. At a critical moment, when Troekurov decided to arrange her marriage, the girl showed firmness and determination, which was difficult to expect from her. She even once forgot herself and threatened her father that she would call Vladimir for help. However, without the effective help of the latter, the girl, of course, could not do anything.
Therefore, when Dubrovsky, for unknown reasons, was late with help, she married the prince. In the finale, the heroine refuses to run away from her husband with him, explaining this act by the fact that she cannot break the oath and transgress moral law. In this scene, all the nobility and firmness of the girl, who was waiting for help until the last minute, were affected. However, having become Princess Vereiskaya, she did not break her oath (Tatyana will do the same in the novel "Eugene Onegin").
Meaning
One of the most significant works in Pushkin's work is the novel "Dubrovsky". The story of Masha Troekurova is no less interesting than the intrigue associated with the adventures of the protagonist. You can even say that it turned out to be more believable and vital.
dramatic story with noble robber the author obviously borrowed from French novels popular at that time. However, the main character had a real prototype, and the story of a nobleman who was forced to become a robber served as the basis of the work. However, the life of Masha Troekurova is described very realistically, since her fate is a collective story of many provincial young ladies of the 19th century, which makes her image especially interesting for a reader interested in the lifestyle of Russian nobles.
