The best literary images of women in Bel Lit. The image of the ideal woman in Russian literature

Time flies fast. The pompous 19th century is already far behind, the 20th century, full of contradictions, social upheavals and revolutions, is gone. Our views, opinions, ideas about beauty are changing, but the concept of moral beauty remains eternal. Beauty that can save the world. For many years, we have been worried about gentle, modest, purposeful creatures, ready for a feat and self-sacrifice - girls.

girls XXI centuries are completely different from previous generations: they are less romantic and more practical. Why is it so?

At all times, a woman was given a different role in society and in the family. The woman was both the furniture in the house, and the servant in her own family, and the imperious mistress of her time and her destiny. And personally to me, as a girl, is close and interestingsubject : "Women's Images in the Literature of the 19th Century".

Our decision to explore this topic was primarily influenced by the interest in the images of women in literature.Literature is the source from which we, readers, draw information about a particular era. Works of the 19th century give us the opportunity to vividly, colorfully reproduce the picture of Russian society, taken at one of the most interesting moments of its development. In my opinion, Russian classical literature is so rich and diverse that it can tell us about any problem that is still relevant today. How many works exist in Russian literature that tell about women's fate.

Subject of study: education of a girl-noblewoman in the nineteenth century.Target: Find out the system of values ​​and features of the education of Russian noblewomen on the pages of A.S. Pushkin "Eugene Onegin", L. N. Tolstoy "War and Peace", the story "Asya" by I.S. Turgenev.Tasks:

To study the literature on the problem of education of noblewomen in Russia.

Find out what qualities a girl in the 19th century needed to be considered well-mannered.

Relying onliterary works of such authors as A.S. Pushkin, I.S. Turgenev, L.N. Tolstoy as sources on the cultural history of the provincial nobility,to determine what is the system of moral values ​​and personal qualities of noblewomen.

Many great writers have created an artistic portrait of their time. Among them are A.S. Pushkin, L.N. Tolstoy, I.S. Turgenev. In their works, the Russian nobility, its way of life, customs, advantages and disadvantages are most fully represented.

Nobility as the highest ruling class in Russia arose on the basis of public service ..Among other estates, the nobility was distinguished by its position, privileges, upbringing, way of life, a special code of noble morality, according to which the nobleman was the master in relation to any representative of the "lower" classes; the nobility differed from them even in clothing, hairstyle, etc.

A noblewoman received this class only by inheritance, i.e. for this, she must be born in a noble family, women did not serve in Russia, and, accordingly, could not receive the nobility in the service.

The life of a noblewoman, like the life of any other person, was determined not only by historical time, i.e. meanwhile, in what era a given person lived, but also by belonging to a given class, society surrounding a given person.

A number of qualities can be considered decisive in terms of describing the Orthodox type of a provincial noblewoman of the 19th century. This is motherhood, nepotism, spirituality, thriftiness, humanity, "cathedralism".

Against the general background of the life of the Russian nobility at the beginning of the 19th century, the “world of women” acted as some kind of isolated sphere that had features of a certain originality.

The central character of the novel A.S. Pushkin "Eugene Onegin" is a provincial young lady Tatyana Larina. In Tatiana everything is her own, everything is unusual, she does not look like either the girls from the novels, or her sister Olga and her friends.Tatyana is a typical noble girl: she knew French perfectly, was fond of reading novels, and was romantic. Tatyana hides her feelings and does not violate moral laws. This speaks of her high moral principles, which are stronger than feelings.

The education of a young noblewoman was, as a rule, more superficial and much more often than for young men, at home. It was usually limited to the skill of everyday conversation in one or two foreign languages, the ability to dance and keep oneself in society, the elementary skills of drawing, singing and playing a musical instrument, and the very basics of geography and literature. Of course, there were exceptions.

A significant part of the mental outlook of a noble girl of the early 19th century was determined by books. Tatyana's generation could be represented as follows:

The young lady of the county,

With sadness I think in my eyes

With a French book in hand.

Asya is one of the most poetic female images of Turgenev. The heroine of the story is an open, ambitious, ardent girl, who at first sight strikes with her unusual appearance, spontaneity and nobility.

Asya is a special girl, unlike the others. In the boarding school, she acquired an excellent education, but did not fit "under the general level", without restraining her character, she kept aloof from the other girls and teachers. Gagin explains this by her origin: "She had to either serve or be shy." Be that as it may, Asya left the boarding house, being still the same wonderful and prankster.

Brought up by her mother, who kept her in strictness, then by her father, who did not forbid her anything, as well as French novels, Asya eventually became the owner of a very direct and contradictory character.

Leo Tolstoy in his works tirelessly proved that the social role of women is exceptionally great and beneficial. Its natural expression is the preservation of the family, motherhood, the care of children and the duties of a wife. In the novel “War and Peace”, in the characters of Natasha Rostova and Princess Marya, the writer showed women rare for the then secular society, the best representatives of the noble environment of the early 19th century. Both of them devoted their lives to the family, felt a strong connection with it during the war of 1812, sacrificed everything for the family.

The education of a young noblewoman had the main goal of making an attractive bride out of a girl. Naturally, with the entry into marriage, education ceased.

At the beginning of the 19th century, young noblewomen entered into marriage early, at the age of 17-18. However, the life of the heart, the time of the first hobbies of the young reader of novels, began much earlier. And the men around her looked at the young noblewoman as a woman already at an age at which the next generation would see in her only a child. The girls went to the "fair of brides" in Moscow.

Tatyana, after refusing to marry Ivan Petushkov and Buyanov, also did not escape this trip. The mother, without asking Tatyana's advice, "carried her to the crown" not out of love, but by her own decision. From an early age, the girl already looks at herself not as a girl, but as a bride. The whole point of her life is to successfully marry.

In the novel "Eugene Onegin" the main character Tatyana Larina transgresses the law, goes against the foundations of society. Tatyana falls in love with Onegin and suffers from this love, since he knows nothing and does not show much attention to her. In the end, she decides to write him a letter with a declaration of love.

In this act, we see the strength of Tatyana, her courage, because she went for it, transgressing the conventional laws of noble morality, not being afraid of the conventions of the world. This touching letter characterizes the main character as a trusting naive girl, inexperienced in life and love, but at the same time as a strong nature capable of true feelings:

The coquette judges in cold blood,

Tatyana loves not jokingly

And surrender unconditionally

Love like a sweet child.

The high secular society had its own habits, foundations, traditions, and people belonging to this society had to follow all the rules by which this society lived.

Very often (especially in Moscow and St. Petersburg) balls were given in noble houses, where young noble girls could find suitors, have fun and dance. “Natasha was going to the first big ball in her life. She got up that day at eight o'clock in the morning and spent the whole day in feverish anxiety and activity. All her strength from the very morning was aimed at ensuring that they were all dressed in the best possible way. This excerpt from L. Tolstoy's novel "War and Peace" traces the preparation of girls and women of the nobility for the big New Year's ball, although balls in the noble society were held very often - this ball was especially solemn, since the arrival of the sovereign and his families.

A very fashionable hobby for young girls and noblewomen was keeping a diary or notes about life. In their free time, girls, as well as women, were fond of fortune-telling on cards, playing solitaire, playing music, learning new musical compositions and works, reading fashion magazines. But the life of a noblewoman in the capital and in the provincial city had great differences.

Pushkin emphasizes Tatyana's spiritual closeness to nature. No wonder he conveys what is happening in her soul through her attitude to her native land. Moreover, she was born in the provinces, and the village, as you know, is the roots, origins, traditions of Russian life.Love for the native land, harmony with nature emphasize Tatyana's connection with the people. It is close to folk life, folk traditions.

Tatyana (Russian soul,

I don't know why)

With her cold beauty

I loved Russian winter.

She believed in signs, predictions, was fond of fortune telling.She is accompanied by the "Song of the Girls", she understands folk customs.

Tatyana believed the legends

common folk antiquity,

And dreams, and card fortune-telling ...

With all this, Pushkin shows that Tatyana is a truly Russian girl.

Everyday superstition left a peculiar imprint of "nationality" on the behavior of a noble family in the countryside, on the estate.

They kept in a peaceful life

Habits of peaceful antiquity;

There were Russian pancakes;

Twice a year they fasted

Loved the round swing

Songs, a round dance are observed ...

"Turgenev girl" Asya loves to play different roles, loves to feel different - either a diligent housewife, or a daredevil, or a tender and fragile girl. She tries to demonstrate her independence from other people's opinions, in fact, it is very important for her what others think of her.

With all her love for acting, Asya is naturalness itself. She absolutely does not know how to hide her feelings, they manifest themselves through laughter, tears, even through complexion. She willingly takes on artificial guises, but no less willingly throws off her mask, becomes very sweet and simple.

A striking quality that fully characterizes Asya is sincerity. She cannot live differently and does not tolerate manifestations of insincerity in other people. That is why she leaves Mr. N., leaves, because she does not meet in him a reciprocal feeling.

Asya's upbringing has roots in Russian traditions. She dreams of going "somewhere far away, to prayer, to a difficult feat."Religion, faith in God, obedience and respect for parents were of great importance throughout the life of a noblewoman.

All children born in a Christian family were baptized, and noble girls began their Christian path with this. And then they were brought up in faith and love for God, so their life could not be imagined without faith and obedience.

Summing up the results of this work, it should be noted that it is impossible to fully cover and reflect the life of a noblewoman, since the life of each person is universal, we can only generalize all the accumulated knowledge of the life of past centuries.

We managed to find out that the upbringing of a noble girl in the 19th century was subject to strict rules. The readiness of a noblewoman to become a good wife and mother in the future was considered the main value. Consequently, such qualities as religiosity, fidelity, devotion to the family, the ability to manage the household, maintain a decent conversation, receive guests, etc. were brought up.

Emphasizing in Tatyana's behavior the naturalness, simplicity, loyalty to oneself in all situations and spiritual immediacy, Pushkin could not include the mention of the boarding house in the upbringing of the heroine. A truly “Russian soul” Tatyana Larina could only receive home education.L.N. Tolstoy, female characters convey ideas about the complexity of human nature, about the peculiarities of relationships between people, about family, marriage, motherhood, and happiness.

Unfortunately, in our time, many good traditions of noble education have been lost along with the unique appearance of a truly intelligent, educated girl. And our task is to take the best, proven by centuries of experience, into the modern life of the family.

In a modern girl, the past and the present should be combined. Modesty, chastity, respect and knowledge of family traditions, along with this knowledge of foreign languages, the ability to drive a car, communication skills, tolerance. And, of course, the ability to look good.

And most importantly, the girl should be an optimist with an active life position, but think more about the fact that she should become a worthy mother of her children, a wife and a keeper of the hearth.

The role of a woman has always depended on the time in which she lived. The woman was both the furniture in the house, and the servant in her own family, and the imperious mistress of her time and her destiny. And personally, as a girl, this topic is close and interesting to me. At sixteen, I want to find my place, understand my purpose in this world, so that, looking at my goals, I can achieve them. Naturally, I was interested in how the role of a woman in society is presented in literature, how her mission was understood, and how Russian writers answered this difficult question.

Our writers of the 19th century in their works often described the unequal position of Russian women. “You share! - Russian female share! It is hardly more difficult to find,” exclaims Nekrasov. Chernyshevsky, Tolstoy, Chekhov, and many others wrote on this subject. First of all, the writers expressed their dreams, their hopes in the heroines and compared them with the prejudices, passions and delusions of the society of the whole country. I learned a lot about the personality of a woman, about her purpose, place, role in the family and society. Literary works are a deep ocean in which you can dive in search of an answer to the questions of the soul and heart. There are truly lessons to be learned from these creations that are worth, and even necessary, to apply in our daily lives today. Even after so many years, the problems that authors posed to readers back in the 19th century are still relevant.

Russian literature has always been distinguished by the depth of its ideological content, the tireless desire to resolve issues of the meaning of life, a humane attitude towards a person, and the truthfulness of the image. Russian writers strove to reveal in female images the best features inherent in our people. Only in Russian literature is so much attention paid to the depiction of the inner world and the complex experiences of the female soul.

Different women, different destinies, different images are presented on the pages of fiction, journalism, painting, sculpture, on the movie screen. In Russian folklore, a woman appears in a wide variety of guises as a totem, an ancient pagan deity, often as a warrior, avenger, bearer of evil and a good enchantress, the Mother of God, the Tsar Maiden, sister, friend, rival, bride, etc. Her image is beautiful and ugly, charming and repulsive. Folklore motifs are known to have influenced all aspects of the development of literature, art and culture in general. Everyone who has at least somehow touched this issue speaks and writes about the ratio of evil and good principles in a woman.

Women in Russian literature have always had a special relationship, and until a certain time the main place in it was occupied by a man - a hero, with whom the problems posed by the authors were connected. Karamzin was one of the first to draw attention to the fate of poor Lisa, who, as it turned out, also knew how to love selflessly. And Pushkin portrayed Tatyana Larina, who knows how not only to love deeply, but also to give up her feelings when the fate of a loved one depends on it.

The situation changed radically in the second half of the nineteenth century, when, due to the growth of the revolutionary movement, many traditional views on the place of women in society changed. Writers of different views saw the role of women in life in different ways.

One can speak about the peculiar controversy between Chernyshevsky and Tolstoy on the example of the novels What Is to Be Done? and War and Peace.

Chernyshevsky, being a democratic revolutionary, advocated the equality of men and women, valued intelligence in a woman, saw and respected a person in her. Vera Pavlovna is free in her right to love the one she herself chooses. She works on an equal footing with men, does not depend materially on her husband. Her workshop is proof of her competence as an organizer and entrepreneur. Vera Pavlovna is in no way inferior to men: neither in the ability to think logically, nor in a sober assessment of the social situation in the country.

This was supposed to be a woman in the view of Chernyshevsky, and of all those who professed the ideas of revolutionary democracy.

But how many supporters of women's emancipation existed, there were just as many opponents of it, one of which was L. N. Tolstoy.

In the novel "Anna Karenina" the author also raised the problem of free love. But if Vera Pavlovna had no children, then Tolstoy showed a heroine who should think not only about her own happiness, but also about the well-being of her children. Anna's love for Vronsky had a negative impact on the fate of Seryozha and the newborn girl, who, according to the law, was considered Karenina, but was Vronsky's daughter. The act of the mother was a dark stain on the lives of children.

Tolstoy showed his ideal in the image of Natasha Rostova. For him, she was the real woman.

Throughout the novel, we follow how a little playful girl becomes a real mother, a loving wife, a homemaker.

From the very beginning, Tolstoy emphasizes that there is not an ounce of falsehood in Natasha, she feels unnaturalness and lies more acutely than anyone. By her appearance at the name day in a living room full of semi-official ladies, she breaks this atmosphere of pretense. All her actions are subject to feelings, not reason. She even sees people in her own way: Boris is gray, narrow, like a mantel clock, and Pierre is quadrangular, red-brown. For her, these characteristics are enough to understand who is who.

Natasha is called "living life" in the novel. With her energy, she inspires others to a new life. With support and understanding, the heroine practically saves her mother after the death of Petrusha. Prince Andrei, who managed to say goodbye to all the joys of life, when he saw Natasha, felt that not everything was lost for him. And after the betrothal, the whole world for Andrey was divided into two parts: one - she, where everything is light, the other - everything else, there is darkness. “What do I care what the sovereign says in the Council? Will I be any happier for this?” Bolkonsky says.

Natasha can be forgiven for being infatuated with Kuragin. This was the only time her intuition failed her. All her actions are subject to momentary impulses, which cannot always be explained. She did not understand Andrei's desire to postpone the wedding for a year. Natasha strove to live every second, and for her a year was equal to eternity.

Tolstoy endows his heroine with all the best qualities, moreover, she rarely evaluates her actions, more often relying on her inner moral sense.

Like all his favorite characters, the author sees Natasha Rostova as part of the people. He emphasizes this in the scene at his uncle's, when "the countess, brought up by a French immigrant," danced no worse than Agafya. This feeling of unity with the people, as well as true patriotism, push Natasha to give carts to the wounded when leaving Moscow, leaving almost all things in the city.

Even the highly spiritual Princess Marya, who at first did not love the pagan Natasha, understood her and accepted her as she was.

Natasha Rostova was not very smart, and this was not important for Tolstoy. “Now, when he (Pierre) told all this to Natasha, he experienced that rare pleasure that women give when listening to a man - not smart women who, listening, try to remember what they are told in order to enrich their mind and on occasion, retell the same; but the pleasure that real women give, gifted with the ability to choose and absorb into themselves all the best that is only in the manifestations of a man.

Natasha realized herself as a mother, a wife. Tolstoy emphasizes that she brought up all her children herself (an impossible thing for a noblewoman), but for the author this is absolutely natural.

Despite the diversity of female characters in Russian literature, they are united by the fact that around them they are trying to create harmony of feelings and peace for their loved ones.

Rereading Pushkin, Turgenev, Tolstoy, we experience again and again together with Tatiana Larina, Natalya Lasunskaya, Natasha Rostova. They show an example of pure love, devotion, fidelity, self-sacrifice. These images live in us, sometimes answering many of our questions, helping us not to make mistakes, to take the only right step. In these images, not only external beauty, but also the beauty of the soul, calling us to improve spiritually.

FEMALE IMAGES IN RUSSIAN LITERATURE (II version)

It is impossible to imagine world literature without the image of a woman. Even without being the main character of the work, she brings some special character to the story. Since the beginning of the world, men have admired the representatives of the beautiful half of humanity, idolized them and worshiped them. Already in the myths of ancient Greece, we meet the gentle beauty Aphrodite, the wise Athena, the insidious Hera. These female goddesses were recognized as equal to men, their advice was obeyed, they were trusted with the fate of the world, they were feared.

And at the same time, the woman has always been surrounded by mystery, her actions led to confusion and bewilderment. To delve into the psychology of a woman, to understand her is the same as solving one of the oldest mysteries of the Universe.

Russian writers have always given women a special place in their works. Everyone, of course, saw her in his own way, but for everyone she was a support, a hope, an object of admiration. Turgenev sang the image of a staunch, honest girl, capable of any sacrifice for the sake of love; Nekrasov admired the image of a peasant woman who “stops a galloping horse, enters a burning hut”; for Pushkin, the main virtue of a woman was her marital fidelity.

Lev Nikolaevich Tolstoy in the epic "War and Peace" created unforgettable images of Natasha Rostova, Princess Marya, Helen, Sonya. They are all different in their characters, outlook on life, attitude towards loved ones.

Natasha Rostova... This is a fragile, tender girl, but she has a strong character. It feels that closeness to the people, nature, origins, which the author appreciated so much. He admired Natasha's ability to feel someone else's grief, pain.

Loving, Natasha gives all of herself, a loved one replaces her - relatives and friends. Natasha is natural, with her charm, charm, she returns to Prince Andrei the desire to live.

A difficult test for her was the meeting with Anatole Kuragin. All her hopes are lost, her dreams are broken, Prince Andrei will never forgive betrayal, although she is simply confused in her feelings.

Some time after the death of Prince Andrei, Natasha realizes that she loves Pierre, and she is ashamed. She believes that she betrays the memory of her lover. But Natasha's feelings often prevail over her mind, and this is also her charm.

Another female image that caught my attention in the novel is Princess Marya. This heroine is internally so beautiful that her appearance does not matter. Her eyes radiated such a light that her face lost its ugliness.

Princess Mary sincerely believes in God, she believes that only He has the right to forgive and have mercy. She scolds herself for unkind thoughts, for disobedience to her father, and tries to see only the good in others. She is proud and noble, like her brother, but her pride does not offend, because kindness - an integral part of her nature - softens this sometimes unpleasant feeling to others.

In my opinion, the image of Maria Volkonskaya is the image of a guardian angel. She protects everyone for whom she feels even the slightest responsibility. Tolstoy believes that such a person as Princess Mary deserves much more than an alliance with Anatole Kuragin, who did not understand what treasure he had lost; however, he had very different moral values.

In the work “War and Peace”, the author, admiring the courage and resilience of the Russian people, extols Russian women. Princess Mary, who feels offended at the mere thought that the French will be on her estate; Natasha, who is ready to leave home in what she was, but to give all the wagons under the wounded.

But the author does not only admire the woman. Helen Bezukhova in the work is the personification of vice. She is beautiful, but her beauty does not attract, because inwardly she is simply ugly. She has no soul, she does not understand the suffering of another person. To give birth to a child from her husband is something terrible for her. She pays dearly for the fact that Boris chose her.

Helen causes only contempt and pity.

Tolstoy's attitude towards women is ambiguous. In the novel, he emphasizes that external beauty is not the main thing in a person. The spiritual world, inner beauty mean much more.

Kuprin also believes that appearances can be deceiving and a woman is able to use her attractiveness to achieve her goals.

Shurochka Nikolaeva from the story “Duel” is a complex person. She does not love her husband, but lives with him and forces him to study, because only he is able, having entered the academy, to pull her out of the backwater in which they live. She leaves the person she loves only because he is weaker than her, unable to give her what she wants. She, without any regret, stifles in herself the feeling that people have been waiting for all their lives. But she does not cause either respect for her strong will or admiration.

Shurochka uses Yuri Romashov because she knows about his love for her. She is so immoral that she is able to persuade Romashov not to shoot, knowing full well that he will die tomorrow. And all for his own sake, because he loves himself more than anyone else. Its main goal is to create the best living conditions for itself, while the methods do not matter. She steps over people and does not feel guilty.

The image of Shurochka does not attract, although she is beautiful, her business qualities are repulsive: she does not have true femininity, which, in my opinion, implies warmth, sincerity, sacrifice.

Both Tolstoy and Kuprin are unanimous in their opinion that a woman should remain a woman. Many writers transferred the character traits of their loved ones to the images of the main characters of the works. I think that is why the image of a woman in Russian literature is so striking in its brightness, eccentricity, and the power of spiritual experiences.

Beloved women have always served as a source of inspiration for men. Everyone has their own female ideal, but at all times the representatives of the stronger sex admired female devotion, the ability to sacrifice, and patience.

A true woman will forever remain inextricably linked with her family, children, and home.

And men will not stop being surprised at women's whims, looking for explanations for women's actions, fighting for women's love.

FEMALE IMAGES IN RUSSIAN LITERATURE (Variant III)

For the first time, a bright female image in the center of the work appeared in Karamzin's "Poor Liza". Prior to this, female images, of course, were present in the works, but their inner world was not given enough attention. And it is natural that the female image first clearly manifested itself in sentimentalism, because sentimentalism is an image of feelings, and a woman is always full of emotions and she is characterized by a manifestation of feelings.

The female image and its image have changed with the development of literature. In different areas of literature, it was different, but as literature developed and psychologism deepened, the psychologically female image, like all images, became more complicated and the inner world became more significant. If in medieval novels the ideal of a female image is a noble virtuous beauty and that's all, then in realism the ideal becomes more complicated, and the inner world of a woman takes on a significant role.

The female image is most clearly manifested in love, jealousy, passion; and, in order to more vividly express the ideal of a female image, the author often puts a woman in conditions where she fully shows her feelings, but, of course, not only to portray the ideal, although this also plays a role.

The feelings of a woman determine her inner world, and often, if the inner world of a woman is ideal for the author, he uses the woman as an indicator, i.e. her attitude to this or that hero corresponds to the attitude of the author.

Often, through the ideal of a woman in a novel, a person is “cleansed” and “born again”, as, for example, in the novel “Crime and Punishment” by F. M. Dostoevsky.

The development of the ideal of the female image in Russian literature can be traced through the works of the 19th century.

In my essay, I want to consider the ideal of the female image of the 1st half of the 19th century, in Pushkin's novel "Eugene Onegin" - Tatyana Larina and the ideal of the 2nd half of the 19th century, in L. N. Tolstoy's novel "War and Peace" - Natasha Rostova .

What is Pushkin's ideal in general? Of course, this is the harmony of the human soul and just harmony. At the beginning of his work, Pushkin wrote the poem "The Beauty Who Sniffed Tobacco", which jokingly depicts the problem that confronts Pushkin in the future - the lack of harmony.

Of course, the ideal of the female image for Pushkin is, first of all, a harmonious woman, calm and close to nature. In the novel "Eugene Onegin" it is, of course, Tatyana Larina.

The ideal of Leo Tolstoy is a natural life and a person who lives a natural life. Natural life is life in all its manifestations, with all the natural feelings inherent in man - love, hatred, friendship. And of course, the ideal of the female image in the novel "War and Peace" is Natasha Rostova. She is natural, and this naturalness is contained in her from birth.

If you look at the appearance of Natasha and Tatyana, they will seem completely different.

Pushkin describes Tatyana like this.

So, she was called Tatyana.
Nor the beauty of his sister.
Nor the freshness of her ruddy.
She would not attract eyes.
Dika, sad, silent.
Like a forest doe is timid,
She is in her own family.

Seemed like a stranger girl.
She couldn't caress
To my father, not to my mother;
A child by herself, in a crowd of children
I didn't want to play or jump.
And often all day alone
She sat silently by the window.

The complete opposite of Tatyana is the lively, cheerful Natasha: “Black-eyed, with a big mouth, ugly, but a lively girl ...” And Natasha’s relationship with her relatives is completely different: attention to her stern remark, hid her flushed face in the lace of her mother's mantilla and laughed (...), she fell on her mother and laughed so loudly and loudly that everyone, even the stiff guest, laughed against their will. Different families, characters, relationships, appearance... What can Tatyana and Natasha have in common?

But the most important thing is that both Tatiana and Natasha are both Russian souls. Tatyana spoke Russian poorly and wrote in Russian, read foreign literature, but still:

Tatyana (Russian soul),
Without knowing why
With her cold beauty
I loved Russian winter.

About Natasha Tolstoy writes: “Where, how, when she sucked into herself from that Russian air that she breathed - this countess, brought up by a French emigrant, this spirit, where did she get these techniques, which education should have long been supplanted? But these spirit and methods were the same, inimitable, not studied, Russian, which her uncle expected from her. This Russian spirit is embedded in Natasha and Tatyana, and therefore they are harmonious.

Both Natasha and Tatiana yearn for love. And when Prince Andrei began to visit the Rostovs after the ball, it seemed to Natasha that “even when she first saw Prince Andrei in Otradnoye, she fell in love with him. She seemed to be frightened by this strange, unexpected happiness that the one whom she had chosen back then (she was firmly convinced of this) that he met her again, and, as it seems, is not indifferent to her. Tatyana has:

Tatyana listened with annoyance
Such gossip, but secretly
With inexplicable joy
Involuntarily thought about:
And a thought arose in the heart;
The time has come, she fell in love. (...)
(...) For a long time heart yearning
It pressed her young breast;
The soul was waiting... for someone.
And waited ... Eyes opened;
She said it's him!

Natasha wanted to be noticed, to be chosen to dance at the ball; and when Prince Andrei “chooses” her, Natasha decides that she herself chose him and fell in love with him at first sight. Natasha really wants it to be true love.

Tatyana also chooses Onegin purely intuitively: she saw him only once before she decided that she was in love.

Although both Natasha and Tatyana were waiting for "someone", but still, in my opinion, Natasha wanted to love and be loved, and Tatyana only wanted to love. And Natasha decides that she loves the one by whom she is already loved; and Tatyana, not knowing Onegin at all, not knowing his feelings, fell in love with him.

Natasha and Tatiana wanted to be happy, and of course they want to know what the future holds for them. Both girls tell fortunes at Christmas time; but neither Tatyana nor Natasha saw anything in the mirror when they were guessing, and both were afraid to guess in the bathhouse. Natasha is very surprised that she does not see anything in the mirror, but she believes that she is to blame. Tatyana tries all fortune-telling: one after another, but none of them portends her happiness. For Natasha, too, fortune-telling did not bode well. Of course, what Sonya invented while looking in the mirror seemed possible and true to Natasha. When a person loves, he naturally tries to find out what will happen, whether he will be happy; so did Natasha and Tatyana.

It is characteristic that when both heroines find themselves in almost the same situation, they behave differently. After Onegin, having rejected Tatyana's love, leaves, Tatyana cannot live as before:

And in the cruel loneliness
Her passion burns stronger
And about distant Onegin
Her heart speaks louder.

As for Natasha, at the time when Prince Andrei leaves for his father, and Natasha decides that he has abandoned her, then: “The next day after this conversation, Natasha put on that old dress that she was especially aware of for delivering it in the morning gaiety, and in the morning she began her former way of life, from which she lagged behind after the ball. Of course, Natasha was worried and was waiting for Prince Andrei, but this state is not always typical for such a lively and cheerful Natasha.

Both girls are characterized by the fact that they love not an ideal at all, but a real person. Tatyana, when she, having spent many hours in Onegin's "cell", realized what he really was, she did not stop loving him. Natasha knew Pierre for quite a long time and quite well, but still she loved him, and not some kind of ideal.

It is interesting that Natasha, being married, does not take any place in secular society. And Tatyana, who could only stay in the village, becomes a real secular lady. And although they both remain harmonious in their souls, Natasha also lives happily. And Tatyana:

How Tatyana has changed!
How firmly she entered her role!
As oppressive dignity
Receptions soon accepted!
Who would dare to look for a tender girl
In this majestic, in this careless
Legislator Hall?

Natasha also changed, but became a woman completely opposite to Tatyana. Natasha disappeared into her family, and she simply did not have time for social events. It is possible that if Tatyana had found her happiness in the family, she would not have been so famous in society either.

In my opinion, the most vivid characterization of the heroines is the situation when they understand that they love one person, but are connected with another. So Tatyana, being married, meets Onegin; and when Onegin confesses his love to her, she says:

I love you (why lie?),
But I am given to another;
And I will be faithful to him forever.

As for Natasha, after her engagement to Prince Andrei, she meets Anatole Kuragin and decides that she is in love and succumbs to his persuasion to run away with him. Since Natasha is natural from birth, she cannot love one person and be the bride of another. It is so natural for her that a person can love and stop loving.

For Tatyana, it is impossible to destroy the marriage, because this would destroy her spiritual harmony.

How similar are Natasha and Tatyana?

They are both harmonious, close to nature and love nature, they have a Russian soul, and they both wanted to love, and, of course, they are natural in their own way.

Tatyana cannot be as natural as Natasha, she has her own moral principles, the violation of which will lead to a violation of harmony in her soul.

For Natasha, it is right when she is happy, if she loves, then she should be with this person, and this is natural.

As a result, the ideals of the female image in Tolstoy and Pushkin are different, although they intersect.

For Tolstoy's ideal, finding one's place in life and living a natural life is very important, but for this all the harmony of the human soul is also needed.

Pushkin's ideal should be harmonious; the harmony of the soul is the main thing, and it is possible to live a natural life without the harmony of the soul (for example, the parents of Tatyana Larina).

The ideal of a female image ... How many of them have already been and will be. But ideals in works of genius are not repeated, they only intersect or are completely opposite.

FEMALE IMAGES IN THE WORKS OF A. S. PUSHKIN AND L. N. TOLSTOY

Russian women... When you hear these words, unusual images arise from the novels of A. S. Pushkin, I. S. Turgenev, L. N. Tolstoy. And it is not at all necessary that they perform feats. The heroines of Pushkin, Turgenev, Tolstoy are unusually sweet and attractive. All of them are strong and remarkable for their spiritual qualities. They know how to love and hate in full force, without omissions. They are strong, whole individuals.

The image of Tatyana Larina, as the main character of the novel by Alexander Sergeevich Pushkin "Eugene Onegin", is the most perfect among the other female characters of the novel.

A great influence on Tatyana and the formation of her character was made by the impressions of her native nature and her closeness to the nanny Filipyevna. Parents and the society of local nobles, which surrounded the Larin family in the village, did not have a significant impact on her. Pushkin pays special attention to Tatyana's participation in Christmas divination, which was part of the Russian folk life of that time:

Tatyana believed the legends
Folk antiquity.
And dreams, and card fortune-telling,
And the predictions of the moon.

Tatyana not only understands Russian folk speech well, but she herself uses elements of colloquial speech in her speech: “I feel sick”, “What do I need?”

One should not deny the usual at that time and in that environment influences of an alien nature (French language, Western novels). But they also enrich Tatyana's personality, find echoes in her heart, and the French language gives her the opportunity to convey her feelings most strongly, which, it seems to me, corresponds to Pushkin's attitude to foreign culture as a culture that contributes to the enrichment of Russian. But it does not drown out the national basis, but reveals and makes it possible for the original Russian to open up. Perhaps that is why Pushkin emphasizes the national basis of the character of the heroine, the “Russian soul”. This is also the basis of his love for her, which shines through throughout the story and does not allow a drop of irony on the part of the author.

In relation to Onegin, the main features of Tatyana's personality are revealed with the greatest completeness. She writes and sends a letter - a declaration of love. This is a bold step, completely unacceptable from the point of view of morality. But Tatyana is "an exceptional being." Having fallen in love with Onegin, she obeys only her own feelings. She speaks of her love immediately, without any tricks and decorations. It is impossible to find another beginning of the letter that would express with such immediacy what these words say:

I am writing to you - what more?
What else can I say?

In this letter, she reveals to Onegin all her “trusting soul”.

Unrequited love for Onegin, the duel and death of Lensky, Onegin's departure - Tatyana deeply worries about all these events. A dreamy, enthusiastic girl turns into a woman seriously thinking about life.

In the last chapter of the novel, Tatyana is a secular woman, but inside she remains the same. And she rejects Onegin not because she does not love, but because she does not want to betray herself, her views, her high understanding of the word “fidelity”.

But along with such female images, there are others. To shade them, the authors show other women who are much inferior to them in moral and spiritual qualities.

The complete opposite of Tatyana is her sister Olga. Despite the same upbringing and the environment surrounding the Larin sisters, they grew up very different. Olga is careless and windy. And Onegin, a connoisseur of the female soul, gives her the following characterization:

Olga has no life in features.
Exactly the same as Vandy's Madonna...

She does not seem to notice Lensky's feelings. And even in the last hours before the duel, he dreams of Olga's loyalty. But he is greatly mistaken in the sincerity of her feelings for him. She quickly forgets him after meeting the young lancer she marries.

There are many more heroines in Leo Tolstoy's novel "War and Peace". And for Tolstoy, inner and outer beauty is important in them.

Like Tatyana Larina, Natasha Rostova is a whole person. She is very far from intellectual life, she lives only by feelings, sometimes she makes mistakes, sometimes logic fails her. She is naive, she wants everyone to be happy, everyone was fine.

We don't even know if she's smart or not. But that doesn't matter. Tolstoy shows that her dignity is not in her mind, but in something else. Tolstoy pits her against Andrei Bolkonsky and Pierre Bezukhov (his favorite characters) and both fall in love with her. And this is no coincidence.

Natasha is Tolstoy's ideal woman, she is a reflection of Pushkin's Tatyana. At the end of the novel, she becomes what Tolstoy wants her to be. And “female” is a praise for her, as it is a symbol of a caring mother. Went down - good. After all, according to Tolstoy, the vocation of a woman is family, children. Examples of the opposite are Anna Karenina, Helen Kuragina.

Helen is a secular beauty who grew up in society, unlike Tatyana, Natasha, Princess Mary. But it was the light that corrupted her, made her soulless. Tolstoy calls her entire family just that - “soulless breed”. There is nothing behind her attractive appearance. She only gets married because her husband has a lot of money. She is not interested in spiritual values, she does not admire the beauty of nature. Helen is an immoral and selfish woman.

Another thing is Princess Marya Volkonskaya. She is very ugly, she has a heavy step, but Tolstoy immediately draws our attention to her beautiful radiant eyes. And the eyes are the mirror of the soul. And the soul of Princess Marya is deep, primordially Russian, capable of sincere feelings. And this is what unites her with Natasha Rostova, with Tatyana Larina. Naturalness is important to them.

Tolstoy continues the traditions of Pushkin in revealing the human character in all its complexity, inconsistency and diversity.

In the images of his heroines, Tolstoy pays great attention to their portrait. He usually emphasizes some detail, a dash, persistently repeating it. And thanks to this, this face crashes into memory and is no longer forgotten.

It is also interesting that Helen almost always speaks only French, and Natasha and Marya resort to it only when they get into the atmosphere of high-society salons.

Smiles, glances, gestures and facial expressions perfectly convey the complex emotional experiences of Marya and Natasha, Helen's empty conversations.

As we can see, the favorite heroines of the works of A. S. Pushkin and L. N. Tolstoy are sincerely feeling, “nature is deep, loving, passionate.” It is impossible not to admire such women, it is impossible not to love them as sincerely as they love people, life, and the Fatherland.

TWO KATERINA (Katerina Izmailova and Katerina Kabanova)

Terrible morals in our city, sir.

A. N. Ostrovsky

The history of numerous interpretations of “Lady Macbeth...” by Leskov tends to constantly bring together the images of Katerina Izmailova and Katerina Kabanova from Ostrovsky’s drama “Thunderstorm”. Moreover, this rapprochement occurs not on literary grounds, but in the context of the interpretation of the image of Katerina by Dobrolyubov in his famous article “A Ray of Light in the Dark Kingdom”. However, reading these works today, one hardly notices the similarities between these heroines. Of course, they are, but they are hardly significant. We enumerate:

First, their habitat. The gloomy merchant life of the Russian hinterland;

Secondly: the heroines have the same names. Both of them are Katherine;

Thirdly: each one is unfaithful to her merchant husband;

Fourthly: suicide of heroines;

Fifth: the geography of their death is the greatest and most Russian of the rivers - the Volga River.

And this ends not only the formal, but also the substantive similarity of both the heroines and the works as a whole. As for the portrait resemblance, here Ostrovsky says nothing about the appearance of his Katerina, allowing the reader and viewer to imagine the image for themselves. We only know that she is very beautiful. The portrait of Izmailova is drawn by Leskov in sufficient detail. It stores a large number of infernal signs. Here and black hair, and dark eyes, and unusual, superhuman strength, with a graceful and fragile physique. Both of them do not love their husbands. But treason for Katerina from "Thunderstorm" is a moral crime, a deep personal drama. Izmailova is cheating on her husband out of boredom. Missed her for five years, decided to have some fun on the sixth. Ostrovsky lacks the main component of adultery - carnal, physiological passion. Katerina says to Boris: "If I had my own will, I would not go to you." Barbara understands this too. It is not for nothing that she coldly whispers after him: “I got it right!”

For Katerina Izmailova, unreasonable, Asian passion is the main content of the world. Katerina in "Thunderstorm" personifies the humility of a person, his involvement in the fatal movements of fate.

Izmailova herself draws the lines of life. And what a simple Russian person can do in his freedom, Leskov knows very well: “He (this man) unleashes all his bestial simplicity, begins to be stupid, to mock himself, people, feelings. Not particularly gentle and without that, he becomes purely angry. Katerina Kabanova cannot conceive of offending a living being. Her image is a bird flying to the Volga region. She is waiting for punishment and retribution for imaginary and real sins. Watching a thunderstorm, she says to her husband: “Tisha, I know who she will kill.” The image of imminent, inevitable death is always with her, and she always talks and thinks about this. She is a truly tragic figure in the drama.

Leskov Izmailov cannot even think of repentance. Her passion swept away any moral ideas and religious imperatives from her soul. To go put a samovar and kill a person - the actions are identical, and a mortal sin is an ordinary job. Katerina at Ostrovsky's is suffering. Her painful life seems to be weighed down by the original, original fall. And before her betrayal, she tests herself with deep metaphysical doubts. Here she shares her thoughts about death with Varvara. She is afraid not to die, she is afraid that "that death will find you with all your sins, with all your evil thoughts."

Her suicide is not a crime. She, like a bird from a New Testament parable, flew away to the beautiful, heavenly expanses of the Trans-Volga region. “Good for you, Katya!” - says Tikhon over the corpse of his wife. We will not find anything like this in the image of Izmailova. Where there is no depth of thought, there is no depth of feeling. After three atrocities, Katerina kills herself, not out of repentance, but for one more murder. Nothing Christian, nothing evangelical - no humility, no forgiveness.

And yet now, a century later, when the social stratum described by the authors has slipped into historical non-existence, the images of these women seem to be reflected in each other's rays. And the abyss hidden behind them does not seem so fatal, attracting the gaze of the modern reader and viewer.

THE THEME OF LOVE IN THE WORKS OF I. S. TURGENEV AND F. M. DOSTOYEVSKY

The theme of love in the novels of the second half of the 19th century is one of the leading ones: almost all authors touch on it in one way or another, but each one treats this problem in his own way. The difference in perceptions can be explained by the fact that each author, being first of all a person, has met different manifestations of this feeling throughout his life. Here we can assume that F. M. Dostoevsky (the first author whose work we will consider), being a tragic personality, considers love from the standpoint of suffering: love for him is almost always associated with torment.

Fyodor Mikhailovich Dostoevsky, as a great master psychologist, described people, their thoughts and experiences in a “vortex” flow; his characters are constantly in dynamic development. He chose the most tragic, the most significant moments. Hence the universal, universal problem of love, which his heroes are trying to solve. Rodion Raskolnikov, having committed the murder, "cut off" himself from people like scissors. Violation of one commandment (thou shalt not kill) entailed ignoring all the others, therefore, he could not “love his neighbor as himself,” since he is special, he is the ruler.

According to Sonechka, this holy and righteous sinner, it is precisely the lack of love for one's neighbor (Raskolnikov calls humanity an "anthill", "a trembling creature") that is its fundamental cause of sin. This is the difference between them: his sin is a confirmation of his “exclusivity”, his greatness, his power over every louse (whether it be his mother, Dunya, Sonya), her sin is a sacrifice in the name of love for her relatives: for her father- to a drunkard, to a consumptive stepmother, to her children, whom Sonya loves more than her pride, more than her pride, more than life, finally. His sin is the destruction of life, hers is the salvation of life.

At first, Raskolnikov hates Sonya, since he sees that he, the Lord and “God”, loves this little downtrodden creature, despite everything, loves and regrets (things are interconnected) - this fact deals a severe blow to his fictitious theory. Moreover, his mother’s love for him, his son, also, in spite of everything, “torments him”, Pulcheria Alexandrovna constantly makes sacrifices for the sake of “beloved Rodenka”.

Dunya's sacrifice is painful for him, her love for her brother is another step towards refutation, towards the collapse of his theory.

What is the attitude of the other heroes of Crime and Punishment to the problem of "love of one's neighbour". P. P. Luzhin, as a double of Raskolnikov, fully agrees with the provisions of the “man-god” theory. His opinion is clearly expressed in the following words: "Science says: love, first of all, yourself, for everything in the world is based on personal interest."

Another double - Svidrigailov, this "voluptuous spider", until the last moment, firmly believed in the absence of love at all. But the moment has come: a sudden love for Duna leads this personality devastated by voluptuousness to complete collapse; the result is death. Such is the relationship between Svidrigailov and Luzhin with the theme of love in the novel.

What is the final position of Raskolnikov? Much later, in hard labor, Rodion Romanovich will be freed from hatred for Sonya, he will appreciate her mercy for him, he will be able to understand all the sacrifices that were made for him and for all of them; he loves Sonya. He will perceive the pride that has filled many hearts as a terrible infection, he will regain God, and through him and through his sacrifice - love for all.

A truly universal, universal perception of love - this is the hallmark of Dostoevsky and his heroes.

Thus, speaking about the difference between the perception of love by Dostoevsky and Turgenev, one must first of all keep in mind the scale.

In the image of Bazarov, we can see all the same pride as in the image of Raskolnikov. But his views do not have such an absolute relationship with current events. He influences those around him, but his views do not lead to a specific disregard for moral and ethical laws. All action is not outside him: he commits crimes within himself. Hence his tragedy is not universal, but purely personal. This practically ends the differences (the differences are fundamental on this issue). Similarities remain: what are they?

Bazarov, like the hero of Crime and Punishment, had “a kind of theorist” - nihilistic views that were fashionable at that time. Like Raskolnikov, Eugene became proud, having invented the absence of any norms, any principles, firmly believing that he was right.

But, according to Turgenev, this is only a purely personal delusion: in other words, his views do not lead to any serious consequences for those around him.

He lives practically without violating the basic commandments. Nevertheless, when a meeting with Odintsova makes E.V. Bazarov believe in the existence of love, thereby admitting the incorrectness of his beliefs, Bazarov, according to the author, must die.

Here we can say about one more difference between the two classics - this time the differences lie in the fact that Dostoevsky, with his "dirt" and torment, gives way to his hero; at the same time, Turgenev, this poet, does not forgive his "beloved hero" the elementary delusion of youth and denies the right to life. Hence Bazarov's love for Anna Sergeevna is only a step towards devastation and death.

In the tragedy of the finale, Bazarov is somewhat similar to Svidrigailov: both of them initially perceived love as voluptuousness. But there is also a huge difference between them: realizing the incorrectness of their ideas, one dies, and this is explained by all the terrible evil that he has committed, while the other is an absolutely normal person, and love could show him a new right path. But, according to Turgenev, the most natural outcome is to bury your hero in the grave, with all his experiences, with a storm of thoughts and doubts that has just been born.

From all of the above, we can conclude: the main similarity in views on love is the depiction of it as a kind of means by which the author shows the characters' delusions. The difference lies in the positions in which the characters are given: the moral quest of the murderer in Crime and Punishment and the moral quest of an absolutely normal person in Fathers and Sons.

THE MOTIVE OF UNFAIR LOVE IN THE RUSSIAN LITERATURE OF THE XIX CENTURY

One of the most important themes of many nineteenth-century novels is the theme of love. As a rule, it is the core of the entire work, around which all events take place. Love is the cause of various conflicts, the development of the storyline. It is feelings that govern events, life, the world; because of them, a person performs this or that action, and it does not matter whether it is love for oneself or another person. It happens that the hero commits a crime or commits some kind of immoral act, motivating his actions with passionate love and jealousy, but, as a rule, such feelings are false and destructive.

There is different love between different heroes, it cannot be said that it is one and the same, but it is possible to determine its main directions, which will be common.

Doomed love, tragic. This is the love of "extremes". It captures either strong people or fallen ones. For example, Bazarov. He never thought about true love, but when he met Anna Sergeevna Odintsova, he realized what it was. Having fallen in love with her, he saw the world from a different perspective: everything that seemed insignificant turns out to be important and significant; life becomes something mysterious; nature attracts and is a particle of the person himself, lives inside him. From the very beginning it is clear that the love of Bazarov and Odintsova is doomed. These two passionate and strong natures cannot love each other, cannot create a family. Anna Sergeevna Odintsova understands this and partly because of this she refuses Bazarov, although she loves him no less than he loves her. Odintsova proves this by coming to his village when Bazarov is dying. If she didn't love him, why would she? And if so, then the news of his illness stirred the soul, and Bazarov is not indifferent to Anna Sergeevna. This love ends in nothing: Bazarov dies, and Anna Sergeevna Odintsova remains to live, as she lived before, but this is fatal love, because in part it destroys Bazarov. Another example of tragic love is the love of Sonya and Nikolai (“War and Peace”). Sonya was madly in love with Nikolai, but he constantly hesitated: either he thought he loved her, or not. This love was incomplete and could not be otherwise, since Sonya is a fallen woman, she is one of those people who are not able to start a family and are doomed to live “on the edge of someone else’s nest” (and so it happened). In fact, Nikolai never loved Sonya, he only wanted to love her, it was a deception. When real feelings awakened in him, he immediately understood this. Only when he saw Marya, Nikolai fell in love. He felt like never before with Sonya or anyone else. That's where true love was. Of course, Nikolai had some feelings for Sonya, but it was only pity and a memory of the old days. He knew that Sonya loved him and truly loved him, and, understanding her, he could not deal such a strong blow - to reject their friendship. Nikolai did everything to alleviate her misfortune, but Sonya was unhappy nonetheless. This love (of Nikolai and Sonya) caused unbearable pain to Sonya, ending not as she expected; and opened Nikolai's eyes, making it clear what are false and what are real feelings, and helped to understand himself.

The most tragic is the love of Katerina and Boris (“Thunderstorm”). She was doomed from the start. Katerina is a young girl, kind, naive, but with an unusually strong character. She did not have time to find out true love, as she was married to a rude, boring Tikhon. Katerina sought to know the world, she was absolutely interested in everything, so it is not surprising that she was immediately drawn to Boris. He was young, handsome. He was a man from another world, with other interests, new ideas. Boris and Katerina immediately noticed each other, as both stood out from the gray homogeneous mass of people in the city of Kalinov. The inhabitants of the city were boring, monotonous, they lived with old values, the laws of "Domostroy", false faith and depravity. Katerina was so eager to know true love and, only touching her, she died, this love ended before it could begin.

WHAT IS LOVE? (According to the works of Russian literature of the XIX century)

In the second half of the 19th century, many works of various genres were written in Russia: novels, short stories, and plays. In many (especially classical) works, love conflict plays an important role, “It was just such a time,” we might think. But no, this is not so - in fact, love and happiness are, one might say, “eternal” topics that worried people in ancient times, passed through the centuries and excite writers to this day. To the question “what is love?” It is impossible to answer unequivocally: everyone understands it in their own way. There are many points of view on this matter, and their amazing diversity can be traced on the example of only two works, for example, “Crime and Punishment” by Dostoevsky and “Fathers and Sons” by Turgenev.

In "Crime and Punishment" one of the secondary characters is Svidrigailov - a scoundrel, a cheater, a vicious person who has committed many atrocities. He is the embodiment of voluptuousness. On the night before his suicide, pictures of the past appear to him. One of the memories is the corpse of a fourteen-year-old drowned girl: “she was only fourteen years old, but it was already a broken heart, and it ruined itself, offended by insult, horrified and surprised this young childish consciousness ... tearing out the last cry of despair, not heard, but brazenly abused in the dark night, in the darkness, in the cold, in the damp thaw, when the wind howled. Voluptuousness and lust - these are the feelings that overwhelmed Svidrigailov during the commission of violence. Can these feelings be called love? From the author's point of view, no. He believes that love is self-sacrifice, embodied in the image of Sonya, Dunya, mother - after all, it is important for the author to show not only the love of a woman and a man, but also the love of a mother for her son, brother for sister (sister for brother).

Dunya agrees to marry Luzhin for the sake of her brother, and the mother is well aware that she is sacrificing her daughter for her firstborn. Dunya hesitated for a long time before making a decision, but in the end she nevertheless decided: “... before deciding, Dunya did not sleep all night, and, believing that I was already sleeping, she got out of bed and walked back all night and forward across the room, finally knelt down and prayed long and fervently before the image, and in the morning she announced to me that she had made up her mind.

Sonya immediately, without hesitation, agrees to give all of herself, all her love to Raskolnikov, to sacrifice herself for the well-being of her beloved: “Come to me, I will put a cross on you, we will pray and go.” Sonya happily agrees to follow Raskolnikov anywhere, to accompany him everywhere. “He met her restless and painfully caring gaze on himself ...” - here is Sonin's love, all her selflessness.

Another love that cannot be overlooked is the love of God, the echo of which passes through the whole work. We cannot imagine Sonya without her love for God, without her religion. “What would I be without God?” Sonya is perplexed. Indeed, religion is the only consolation for the "humiliated and offended" in their poverty, which is why moral purity is so important for them...

As for a different understanding of love, in order to see it, we will have to analyze another work - for example, “Fathers and Sons” by I. S. Turgenev. In this novel, the conflict between "fathers" and "children" covers all aspects of life, views, beliefs. The worldview of a person subconsciously guides his actions and feelings, and if for Arkady, by virtue of his principles, family happiness, a prosperous, calm life is possible, then for Bazarov it is not.

It is worth recalling the views of Turgenev himself about love and happiness. He believes that happiness is harmony, and other feelings, experiences, violent emotions, jealousy are disharmony, which means that where love is passion, there cannot be happiness.

Bazarov himself perfectly understands the dissimilarity of their natures with Arkady. He says to the young man: “You were not created for our bitter, tart, bean life ...” His comparison of Arkady with a jackdaw is very appropriate: “Here you are! - study! The jackdaw is the most respectable family bird. An example for you!”

Although Arkady is a “son” by age, his worldview is clearly paternal, and Bazarov’s nihilism is alien to him, feigned. The ideal of his love is the same as that of Nikolai Petrovich - harmonious relationships, calm and long love until old age.

Bazarov is a completely different person. He comes from a different social environment, he has a completely different system of views from Arkady, and his experiences are much deeper. His beliefs include that love is “rubbish, unforgivable nonsense, and chivalrous feelings are ugliness, illness”, but he himself experiences an “animal” passion for Anna Odintsova, but she turns out to be a cold woman, and a painful period begins in Bazarov’s life: his postulates like “knock out a wedge with a wedge” (this is about women) turn out to be powerless, and he loses power over himself. His love - “a passion similar to malice and, perhaps, akin to it” - pours out for Bazarov into a genuine tragedy.

All these characters: Arkady, and Bazarov, and Sonya - differ from each other in their worldview, outlook on life, and their love is also different.

Love-passion of Bazarov and love-happiness of Katya and Arkady, love-self-sacrifice of Sonya, Dunya, mother - how many semantic shades are invested by the authors in a single word - love! What different feelings can sometimes be expressed in one word! Each character has his own perception of the world, his own ideals, which means that already on the basis of the subconscious, different people have different feelings. Probably, just as there were no two identical people in the world, love has never been repeated. And different writers, putting different meanings into this concept and depicting love in different forms, gradually approach one of the philosophical, “eternal” questions - stumbling blocks: “what is love? ”

THE THEME OF LOVE IN THE RUSSIAN NOVEL OF THE SECOND HALF OF THE XIX CENTURY (Based on the novels by I. A. Goncharov “Oblomov”, I. S. Turgenev “Fathers and Sons”, L. N. Tolstoy “War and Peace”) (I version)

I loved you....

The theme of love is traditional for world literature, in particular, for Russian literature it is one of the “eternal” ethical problems of our world. They say all the time that it is impossible to answer questions about concepts that cannot be defined: about life and death, love and hate, envy, indifference, etc. But, probably, unsolvable questions and tasks have a strange charm: they are like a magnet attract people, their thoughts; therefore, many artists tried to express in their work what is difficult to convey in words, music, paint on canvas, what every person vaguely feels, and love occupies a significant place in people's lives, in their world, and therefore in their creations .

In Leo Tolstoy's novel "War and Peace" the author creates several storylines related to the theme of love. But the most striking among them is the storyline of the love of Prince Andrei Bolkonsky and Natasha Rostova. There are many opinions about their relationship: someone says that Natasha did not love Prince Andrei, proving this by the fact that she cheated on him with Anatole Kuragin; someone says that Prince Andrei did not love Natasha, since he could not forgive her, and someone says that there are few examples of such high love in literature. And it seems to me that it was probably the strangest love that I read about in Russian literature at the end of the 19th century. I am sure that they were made for each other: how Natasha felt the night in Otradnoye (“After all, such a lovely night has never, never happened ... So I would squat down, grab myself under my knees ... and fly. ..”), so Prince Andrei saw the sky above Austerlitz (“... Everything is empty, everything is a lie, except for this endless sky ... there is nothing but silence, calm ...”); how Natasha was waiting for the arrival of Prince Andrei, so he wanted to return to her ... But on the other hand, what could have happened if they had got married? At the end of the novel, Natasha becomes a "female" - a woman who only cares about her family; before the war, Prince Andrei wanted to become a good master in his village of Bogucharovo; so maybe they would make a great couple. But then they would have lost the main thing that, in my opinion, was in them: their restless longing for something distant and strange, the search for spiritual happiness. For some, the life of Pierre and Natasha after the wedding, the life of Olga Ilyinskaya and Andrei Stolz, etc., may be ideal - everything is very calm and measured, rare misunderstandings do not spoil relations; But wouldn't such a life become the second version of Oblomovism? Here is Oblomov lying on the sofa. His friend Stolz comes to him and introduces him to a charming girl, Olga Ilyinskaya, who sings so that Oblomov cries with happiness. Time passes, and Oblomov realizes that he is in love. What is he dreaming about? Rebuild the estate, sit under the trees in the garden, listen to the birds and see how Olga, surrounded by children, leaves the house and heads towards it... In my opinion, this is very similar to what Andrei Stoltz and Olga Ilyinskaya, Pierre Bezukhov and Natasha Rostova, Nikolai Rostov and Princess Marya, Arkady and Katya in I. S. Turgenev's novel "Fathers and Sons". It seems that this is some kind of strange irony: Natasha, who was madly in love with Prince Andrei, Princess Marya, excited by romantic dreams before meeting with Anatole Kuragin, Nikolai Rostov, who committed a noble deed on the model of medieval knights (the departure of the princess from the estate) - all these strong and unusual personalities eventually come to the same thing - a happy family life in a remote estate. There is a similar storyline in I. S. Turgenev's novel "Fathers and Sons" - Arkady's love for Katya Odintsova. Meeting, hobbies of Arkady Anna Sergeevna, Katya's wonderful singing, wedding and ... life in the estate of Arkady. One could say that everything is back to square one. But in the novel “Fathers and Sons” there is another storyline - this is Bazarov’s love for Anna Sergeevna Odintsova, it seems to me, even more beautiful than the love of Prince Andrei and Natasha Rostova. At the beginning of the novel, Bazarov believes that “Rafael is not worth a damn”, denies art and poetry, thinks that “in this atom, in this mathematical point [he himself], blood circulates, thought works, wants something too ... What an outrage! What nonsense!” - Bazarov is a person who calmly denies everything. But he falls in love with Odintsova and tells her: “I love you stupidly, madly,” Turgenev shows how “passion beat strong and heavy in him - a passion similar to malice, and, perhaps, akin to it ...” However their fate did not work out, perhaps because they met too late, when Odintsova had already come to the conclusion that "calmness is still the best." The idea of ​​a quiet life is present to varying degrees in many novels of Russian literature and in different storylines. This is not only Oblomov, who does not want to get up from his sofa, but also the Bergi and the Rostov family, where they do not like to deviate from traditions, and the Bolkonsky family, where life moves according to once established order. Because of his love for peace, unwillingness to quarrel with his son, Nikolai Petrovich did not immediately marry Fenechka (one of the secondary plot lines of the novel “Fathers and Sons”).

However, it would be wrong to associate the theme of love only with the relationship of men and women. The old Countess of Rostov and Prince Nikolai Bolkonsky love their children, and children love their parents (Arkady, Bazarov, Natasha, Princess Marya, etc.). There is also love for the motherland (Prince Andrei, Kutuzov), for nature (Natasha, Arkady, Nikolai Petrovich), etc. Probably, one cannot firmly say that someone loves someone, since only the author knew this for sure, to In addition, various feelings struggle in the complex characters of the heroes, and therefore it is only conditionally possible to say that this or that expression (words) is true in relation to any hero. In any case, I think that as long as people live, they will feel: love, rejoice, be sad, be indifferent - and they will always try to understand what is happening to them, and try to explain it in words, so the theme of feelings and love will always be present in art.

THE THEME OF LOVE IN THE RUSSIAN NOVEL OF THE SECOND HALF OF THE XIX CENTURY (Based on the novels by I. A. Goncharov “Oblomov”, I. S. Turgenev “Fathers and Sons”, L. N. Tolstoy “War and Peace”) (II version)

From ancient times to the present day, nothing excites the minds of writers and poets like the theme of love. It is one of the key in all world fiction. However, despite the fact that in most books there is a love affair, each time the author finds some new twist on this topic, because love is still one of those concepts that a person cannot describe with a standard phrase or definition. As in a landscape, the lighting or the season changes and perception changes, so in the theme of love: a new writer appears, and with him other heroes, and the problem appears before him in a different guise.

In many works, the theme of love is closely connected with the basis of the plot and the conflict, it serves as a means of revealing the nature of the main characters.

In the novels of Russian classics of the second half of the 19th century, the love theme is not the main one, but at the same time it plays one of the important roles in the works. As one of the famous English writers A. Christie said already in the 20th century, “he who has never loved anyone has never lived,” and Russian prose writers, not yet knowing this phrase, but certainly understanding that there is love in the life of every person something that helps to most fully reveal his inner world and the main character traits, of course, could not help but refer to this topic.

Echoes of the former era of “romantic” love can be heard in the works of the 19th century: Oblomov can be called a romantic: a lilac branch, which the girl once picked while walking in the garden, becomes a symbol of their love with Olga. For all the time of their relationship, Oblomov mentally returns to this flower more than once in a conversation, and often he compares the minutes of love that go away and never return with a faded lilac. The feelings of another couple - Arkady and Katya from "Fathers and Sons" can only be called romantic. There is no suffering or torment here, only pure, bright, serene love, which in the future will turn into the same pleasant and calm family life, with a bunch of kids, common dinners and big holidays with friends and relatives. They can be called an ideal family: the spouses live in mutual understanding and boundless love, about such a life the hero of another work, Oblomov, dreams of. His idealistic thoughts resonate with Nikolai Rostov's thoughts about his wife and marriage: “... a white hood, a wife behind a samovar, a wife's carriage, children ...” - these ideas about the future gave him pleasure. However, such pictures are not destined to come true (at least for those heroes who dream about it), they have no place in the real world. But the fact that there is no idyll, as Nikolai and Oblomov imagine it, does not mean that there is no happy family life in the world: each of these writers in his works paints pictures of an ideal married couple: Pierre Bezukhov and Natasha Rostova, Marya Volkonskaya and Nikolai Rostov , Stolz and Olga Ilyinskaya, Arkady and Katya. Harmony and mutual understanding, based on love and devotion, reign in these families.

But, of course, when reading these works, one cannot speak only about the happy side of love: there is suffering, and torment, and heavy passion, and unrequited love.

The theme of love suffering is most associated with the main character of "Fathers and Sons" Yevgeny Bazarov. His feeling is a heavy, all-consuming passion for a woman who is not able to love him, the thought of her does not leave Bazarov until his death, and until the last minutes love remains in him. He resists the feeling, because this is what Bazarov considers romance and nonsense, but he is unable to fight it.

Suffering brings not only unrequited love, but also the understanding that happiness with the person you love and love yourself is impossible. Sonechka has put her whole life on the map of love for Nikolai, but she is “an empty flower”, and she is not destined to start a family, the girl is poor, her happiness with Rostov is initially hindered by the countess, and later Nikolai meets a creature that was higher than Sonya and even himself - Marya Volkonskaya, falls in love with her and, realizing that we love her, marries. Sonya, of course, is very worried, her heart will always belong only to Nikolai Rostov, but she is unable to do anything.

But Natasha Rostova experiences grief incomparably greater in depth and significance: first, when, due to her passion for Kuragin, she broke up with Prince Andrei, the man whom she loved for the first time in her life, then, when she lost him for the second time due to the death of Bolkonsky. For the first time, her suffering is intensified by the fact that she realizes that she lost her fiancé only through her own fault; the break with Bolkonsky leads Natasha to a deep spiritual crisis. Natasha's life is a series of trials, having gone through which she came to her ideal - to family life, which is based on the same strong connection as her soul and body.

Using the example of Rostova Tolstoy, one of the few writers, traces the path of the development of love from childhood love and flirting to something solid, fundamental, eternal. Like Tolstoy, Goncharov draws the various stages of Olga Ilyinskaya's love, but the difference between these two heroines is that Natasha is able to really love more than once (and she has no doubt that this may not be normal), because the essence of her life is love - to Boris, mother, Andrey, brothers, Pierre, while Olga is tormented, thinking that her feeling for Oblomov was genuine, but if so, what does she feel for Stolz? .. If Olga fell in love after Oblomov, then for many other heroes of Russian literature this feeling arises only once in a lifetime: for example, Marya Volkonskaya realized at first glance that Nikolai was the only one for her, and Anna Sergeevna Odintsova remains forever in Bazarov’s memory.

Important in revealing the theme of love is how people change under its influence, how they pass the “test of love”. In the psychological novel Oblomov by I. A. Goncharov, the influence of feelings on the protagonist could not be ignored. Olga wants to change her lover, pull him out of the "Oblomovism", not let him sink, she makes him do what was not typical of Oblomov before: get up early, walk, climb mountains, but he does not pass the test of love, nothing can change him, and Olga's hands drop, she knows that; there are sprouts of beauty in him, but he is mired in the usual “Oblomov way of life”.

Love is many-sided and multifaceted, beautiful in all its manifestations, but not many Russian writers of the second half of the 19th century were “researchers of love”, with the exception of Goncharov. Basically, the theme of love was presented as a material on the basis of which the character of the characters could be built, although, meanwhile, this does not prevent writers from revealing this topic from different angles and admiring the romantic feelings of the characters and empathizing with their suffering.

MOTIVES OF KNIGHTS' SERVICE TO A WOMAN IN RUSSIAN LITERATURE (Option I)

First, I would like to explain the concept of “chivalry”. A knight is not necessarily a man in armor and with a sword, sitting on a horse and fighting monsters or enemies. A knight is a person who forgets himself in the name of something, a person disinterested and honest. Speaking of chivalrous service to a woman, we mean a person who is ready for self-sacrifice for her, the one and only.

The most striking example of this, in my opinion, would be Pavel Petrovich - the hero of I. S. Turgenev's novel "Fathers and Sons".

He was a hereditary nobleman, brilliantly educated, having, like many representatives of his social circle, high moral qualities. He had a brilliant career ahead of him, as he had extraordinary abilities. Nothing indicated failure. But he met Princess R., as the author called her. At first, she also treated him favorably, but then ... Princess R. broke Pavel Petrovich's heart, but he did not want to offend her or take revenge on her by word or deed. He, like a real knight, set off in pursuit of his beloved, sacrificing his career. Not every person is capable of this. Therefore, we can safely say that Pavel Petrovich is a representative of a remarkable galaxy of knights in Russian literature.

I would like to mention one more knight. Chatsky, the hero of A. S. Griboedov’s comedy “Woe from Wit”, loved Sophia so much that I think he deserves this title. He sacrificed his feelings for the happiness of the woman he loved.

With this I would like to end my essay. Much can be written about chivalry, but it is not interesting to read a lot of the same, the only thing I would like to add is the wish that there were more knights, because over the centuries they disappear, as we see.

Of course, I don’t want to say that they disappeared altogether, but for some reason there are very few of them, although this is strange in connection with the peculiar mentality of the Russian nation. For Russians, it seems to me, chivalry should be in the blood. Russians should be the same knights and dreamers as Lensky, who madly loved Olga and sacrificed his life for her.

MOTIVES OF KNIGHTS' SERVICE TO A WOMAN IN RUSSIAN LITERATURE (II variant)

Russian literature is very diverse. And one of these varieties is the direction in which, whether a writer or a poet, touches on the themes of love and, in particular, the motives of chivalrous service to a woman.

Women are like flowers on ice. It is they who decorate it and the life of all on earth. For example, A. S. Pushkin met many women in his life and loved many, both good and bad. And many of his poems and poems are dedicated to his beloved. And everywhere he speaks of them with warmth and elevates their beauty, both external and internal. All of them are beautiful for him, they give him strength, energy, they, in most cases, are the source of his inspiration. It turns out that love is one of the main motives of chivalrous service to a woman. Love can change any person, and then he idolizes his chosen one, she will become an ideal for him, the meaning of life. Will this not entail a violent outburst of emotions, will this not inspire a man to dedicate poems or novels to his beloved? And no matter what the woman, love will still prevail over the consciousness of the person whose heart will submit to her. The Russian poet M. Yu. Lermontov can serve as such an example. He fell in love many times, but very often his lovers did not reciprocate. Yes, he was very worried, but still this did not prevent him from dedicating his poems to them, written from a pure heart, albeit with pain in his chest. For some, love is destructive, while for others it is the salvation of the soul. Again and again, all this is confirmed in the works of famous Russian writers and poets.

One of the main motives is nobility. Often it manifests itself only after a person has fallen in love. This, of course, is good, but nobility should be shown in any cases. And it is not at all necessary to love a woman in order to treat her prudently. Some men cultivate this feeling in themselves from their youth, and it remains with them for the rest of their lives. Others don't recognize it at all. Consider an example. In Pushkin's novel "Eugene Onegin" the protagonist acted nobly with Tatyana. He didn't take advantage of her feelings for him. He did not love Tatyana, but the feeling of nobility was in his blood, and he would never disrespect her. But in the case of Olga, he, of course, showed himself on the other side. And Lensky, Olga's admirer, could not resist, his pride was hurt, and he challenged Onegin to a duel. He acted nobly, trying to protect the honor of Olga from such a playboy as Onegin. Pushkin's views are somewhat similar to the views of his heroes. After all, he died only because rumors about his wife were spread. And his nobility did not allow him to keep silent and stay away. So nobility is also one of the motives of chivalrous service to a woman in Russian literature.

Hatred of a woman and at the same time admiration for her beauty is another motive. Take, for example, M. Yu. Lermontov. As I wrote, it was often rejected. And it was natural that in his soul a certain amount of hatred was born towards them. But, thanks to his admiration for them, he managed to overcome the barrier of malice and devoted many of his poems to precisely those women, hatred for whom was mixed with admiration, perhaps, for their character, figure, face, soul, mind, or something else.

Respect for a woman, as a mother, as a keeper of the hearth, is also a motive.

Women have been and always will be the most beautiful and revered on earth, and men will always serve them like knights.

THE THEME OF A LITTLE MAN IN RUSSIAN LITERATURE OF THE XIX CENTURY

The theme of the little man is one of the traditional themes in Russian literature of the last two centuries. For the first time, this topic appeared in Russian literature in the 19th century (in “Poor Lisa” by Karamzin). As reasons for this, one can probably name the fact that the image of a small person is characteristic, first of all, for realism, and this artistic method finally took shape only in the 19th century. However, this topic, in my opinion, could be relevant in any historical period, since, among other things, it involves a description of the relationship between man and power, and these relationships have existed since ancient times.

The next (after “Poor Liza”) significant work on this topic can be considered “The Stationmaster” by A. S. Pushkin. Although for Pushkin this was hardly a typical theme.

One of the maximum manifestations of the theme of the little man was found in the work of N.V. Gogol, in particular in his story “The Overcoat”. Akaky Akakievich Bashmachkin (the main character of the story) is one of the most typical little people. This is an official, "not that very remarkable." He, a titular adviser, is extremely poor, even for a decent overcoat he has to save up for a long time, denying himself everything. The overcoat obtained after such labors and torments is soon taken away from him on the street. It would seem that there is a law that will protect him. But it turns out that no one can and does not want to help the robbed official, even those who would simply have to do it. Akaky Akakievich is absolutely defenseless, he has no prospects in life - due to his low rank, he is completely dependent on his superiors, he will not be promoted (he is, after all, an “eternal titular adviser”).

Gogol calls Bashmachkin “one official”, and Bashmachkin serves in “one department”, and he is the most ordinary person. All this allows us to say that Akaky Akakievich is an ordinary little person, hundreds of other officials are in his position. This position of a servant of power characterizes the power itself in a corresponding way. The government is heartless and ruthless.

The same defenseless little man is shown by F. M. Dostoevsky in his novel Crime and Punishment.

Here, as in Gogol, an official, Marmeladov, is represented as a small man. This man is at the bottom. He was expelled from the service for drunkenness, and after that nothing could stop him. He drank everything he could drink, although he perfectly understood what he was bringing the family to. He says about himself: "I have an animal image."

Of course, he is most to blame for his situation, but it is also noteworthy that no one wants to help him, everyone laughs at him, only a few are ready to help him (for example, Raskolnikov, who gives the last money to the Marmeladov family). The small man is surrounded by a soulless crowd. “For this I drink, that in this drink I seek compassion and feelings ...”, says Marmeladov. “Sorry! why pity me!” - he exclaims and immediately admits: “There is nothing to feel sorry for me!”

But after all, his children are not to blame for the fact that they are beggars. And the society, which does not care, is probably also to blame. The chief is also to blame, to whom Katerina Ivanovna's appeals were addressed: “Your Excellency! Protect the orphans!” The entire ruling class is also to blame, because the carriage that crushed Marmeladov was “waited by some significant person,” and therefore this carriage was not detained.

Sonya, the daughter of Marmeladov, and the former student Raskolnikov also belong to the small people. But what is important here is that these people retained human qualities in themselves - compassion, mercy, self-esteem (despite the downtroddenness of the Hundreds, the poverty of Raskolnikov). They are not yet broken, they are still able to fight for life. Dostoevsky and Gogol depict the social position of little people in approximately the same way, but Dostoevsky, unlike Gogol, also shows the inner world of these people.

The theme of the little man is also present in the works; M. E. Saltykov-Shchedrin. Take, for example, his fairy tale “Med-; after all, in the voivodeship.” All the characters here are given in a grotesque form, this is one of the features of the fairy tales of Saltykov-Shchedrin. In the tale under consideration there is a small, but very informative, episode concerning the theme of small people. Toptygin "Chizhik ate". I ate it just like that, for no reason, without understanding. And although the whole forest society immediately laughed at him, the very possibility of causeless harm by the boss to the little man is important.

Little people are also shown in the “History of a City”, and they are shown in a very peculiar way. Here they are typical inhabitants. Time passes, mayors change, but the townsfolk do not change. They remain the same gray mass, they are completely dependent, weak-willed and stupid. The mayors take the city of Foolov by storm, go on campaigns against it. But the people are used to it. They only want the mayors to praise them more often, call them "guys", make optimistic speeches. The organchik says: “I will not tolerate it! I will ruin!” And for the general public, this is normal. Then, the townsfolk understand that the “former scoundrel” Ugryum-Murcheev personifies the “end of everything”, but they silently climb to stop the river when he orders: “Drive! ”

A completely new type of little man is presented to the reader by A.P. Chekhov. Chekhov's little man has grown bigger, no longer so defenseless. This shows up in his stories. One of these stories is "The Man in the Case". Teacher Belikov can be attributed to the number of small people, it’s not in vain that he lives by the principle: “No matter what happens.” He is afraid of the authorities, although, of course, his fear is greatly exaggerated. But this little man “put a case” on the whole city, made the whole city live according to the same principle. It follows that a small person can have power over other small people.

This can be seen in two other stories "Unter Prishibey" and "Chameleon". The hero of the first of them - non-commissioned officer Prishibeev - keeps the whole neighborhood in fear, tries to force everyone not to turn on the lights in the evenings, not to sing songs. It's none of his business, but he can't be stopped. And he is also a small person, if he is brought to trial and even sentenced. In "Chameleon" the little man, the policeman, not only subdues, but also obeys, as a little man should.

Another feature of Chekhov's little people is the almost complete absence of positive qualities in many of them. In other words, the moral degradation of the personality is shown. Belikov is a boring, empty man, his fear borders on idiocy. Prishibeev is thuja and stubborn. Both of these heroes are socially dangerous, because for all their qualities they have moral power over people. The bailiff Ochumelov (the hero of "Chameleon") is a little tyrant who humiliates those who depend on him. But before the authorities, he kowtows. This hero, unlike the two previous ones, has not only moral, but official power, and therefore is doubly dangerous.

Considering that all the considered works were written in different years of the 19th century, we can say that a small person still changes in time. For example, the dissimilarity between Bashmachkin and Belikov is obvious. It is also possible that this arises as a result of the authors' different vision of the problem, different ways of depicting it (for example, caustic satire in Saltykov-Shchedrin and obvious sympathy in Gogol).

Thus, in the Russian literature of the 19th century, the theme of the little man is revealed by depicting the relationship of little people both with the authorities and with other people. At the same time, through the description of the situation of small people, the power standing over them can also be characterized. A small person can belong to different categories of the population. Not only the social status of little people can be shown, but also their inner world. Little people are often to blame for their misfortunes, because they do not try to fight.

PUSHKIN'S REMINISCENCES IN NV GOGOL'S POEM "DEAD SOULS".

The poem "Dead Souls" is the most significant creation of Nikolai Vasilyevich Gogol. Uniquely original and originals of the share, it is nevertheless associated with many literary traditions. This applies to both the content and the formal aspects of the work, in which everything is organically interconnected. "Dead Souls" was published after Pushkin's death, but the beginning of work on the book coincided with the close rapprochement of the writers. This could not but be reflected in Dead Souls, the plot of which, by Gogol's own admission, was presented to him by Pushkin. However, it is not only about personal contacts. B. V. Tomashevsky in his work “Pushkin’s Poetic Heritage” noted the influence of his artistic system, which all subsequent literature experienced “in general, and, perhaps, prose writers are more than poets.” Gogol, by virtue of his talent, was able to find his own way in literature, in many respects different from Pushkin's. This must be taken into account when analyzing Pushkin's reminiscences in Gogol's poem. The following questions are important here: what is the role of Pushkin's reminiscences in Dead Souls? what meaning do they have for Gogol? what is their meaning? The answers to these questions will help to better understand the peculiarity of Gogol's poem, to note some historical and literary patterns. The most general conclusion that can be drawn on the topic under consideration is the following: Gogol's reminiscences reflect Pushkin's influence on him. Our task is to understand the results of this influence. Under Pushkin's reminiscences in "Dead Souls" we will understand everything that leads to a comparison with Pushkin's work, reminds of him, as well as a direct echo of Pushkin's expressions. In other words, the question of Pushkin's reminiscences in Gogol is a question of connections between the original creative worlds of two Russian writers who were in a relationship of succession. In the light of the stated attitudes, let's take a closer look at Gogol's work itself.

First of all, we pay attention to the author's genre definition. We know that it was fundamental for Gogol. He emphasized this in his own cover for the first edition of the book. Why, then, is a work reminiscent of an adventure novel in form, and even saturated with a large number of satirical sketches, nevertheless called a poem? The meaning of this was correctly captured by V. G. Belinsky, noting the “predominance of subjectivity”, which, “penetrating and animating with itself the entire poem of Gogol, reaches a high lyrical pathos and embraces the soul of the reader with illuminating waves ...”. Before the reader of the poem, pictures of the provincial city, landowners' estates unfold, and behind them stands "all Rus'", the Russian reality of that time. The emotional coloring of the narrative, manifested in the author's increased interest in what he depicts, the very subject of the image - the modern life of Russian life - lead us to compare the central work of Gogol with the central work of Pushkin. Both in "Eugene Onegin" by Pushkin, and in "Dead Souls" by Gogol there are clearly expressed lyrical and epic beginnings. Both works are original in terms of genre. Pushkin originally intended to call his novel in verse a poem. (“Now I am writing a new poem,” he wrote in a letter to Delvig in November 1823. A little later he wrote to A.I. Turgenev: “... I am writing a new poem at my leisure, Eugene Onegin, where I choke on bile.”) The final genre definition of "Eugene Onegin" reflected Pushkin's awareness of his artistic discovery: the transfer to poetry of the tendencies characteristic of prose. Gogol, on the contrary, transferred an excited lyrical note to prose. The aforementioned thematic and genre overlaps between “Eugene Onegin” and “Dead Souls” are supported by a large number of different kinds of reminiscences, which we are about to review.

One more preliminary note. We will consider the first volume of "Dead Souls" as an independent work, not forgetting its three-part plan, realized only partially.

A careful look at the text of "Dead Souls" reveals many analogies with Pushkin's novel. Here are the most notable ones. In both works, the same scheme is visible: the central character from the city finds himself in a rural area, the description / of his stay in which is given the main place. The end of the story, the hero comes in the same place where it begins. The hero returns to the clan, from which he then soon leaves, like Chatsky. Recall that Pushkin leaves his hero

In a minute, evil for him.

The main characters themselves are comparable. Both of them stand out against the background of the society surrounding them. Their characteristics are similar. Here is what the author says about Chichikov: “The visitor somehow knew how to find himself in everything and showed himself an experienced secular person. Whatever the conversation was about, he always knew how to support it ... ”Onegin, who had a happy talent

No compulsion to speak
Touch everything lightly
With a learned air of a connoisseur...

It is precisely “with the learned look of a connoisseur” that Chichikov talks about a horse farm, good dogs, judicial tricks, a game of billiards, virtue, making hot wine, about customs overseers and officials. For this, everyone declares him a “efficient”, “scientist”, “respectable and amiable” person, and so on. About Onegin

The world has decided.
That he is smart and very nice.

Further, Gogol reveals the "strange property of the hero." Pushkin's Onegin is a “strange companion”, an eccentric in the eyes of others. Along the way, one can note non-random correspondences between the names of the authors and their main characters: Pushkin - Onegin, Chichikov - Gogol. In two works, the motive of the protagonist's journey is important. However, if Onegin rides out of boredom, then Chichikov has no time to be bored. It is the parallelism of situations and images, given by reminiscences, that emphasizes significant differences. Let's explain it textually. Pushkin's reminiscences are clearly heard in the description of Chichikov's preparation for the governor's party, which "took more than two hours of time." The main semantic detail here - "such attentiveness to the toilet, which is not even seen everywhere" - goes back to Pushkin's poems:

It's three hours at least
Spent in front of the mirrors
And came out of the restroom
Like windy Venus...

Let us point to the continuation of the reminiscences: “Thus dressed, he rolled in his own carriage along endlessly wide streets, illuminated by skinny illumination from windows that flickered here and there. However, the governor's house was so lit up, even for a ball; a carriage with lanterns, two gendarmes in front of the entrance, postillion cries in the distance - in a word, everything is as it should be. The above quote is an echo of the verses of the XXVII stanza of the first chapter of “Eugene Onegin”:

We'd better hurry to the ball.
Where headlong in a pit carriage
My Onegin has already galloped.
Before the faded houses
Along a sleepy street in rows
Double carriage lights
Cheerful pour out light,
Dotted with bowls all around,
Glittering gorgeous house...

And tightness, and brilliance, and joy,
And I'll give you a thoughtful outfit.

Chichikov, having gone out into the hall, "had to close his eyes for a minute, because the glare from candles, lamps and ladies' dresses was terrible." Before us is a retelling of the first chapter of Onegin. But what kind of retelling, or rather, transcription, is this? If in Pushkin the image of the ball evokes enthusiastic memories, pouring out into inspired lines “I remember the sea before a thunderstorm ...”, etc., then Gogol in a similar place in the story gives a long comparison of “black tailcoats” with flies on sugar in the form of a digression. A similar ratio can be seen in almost all reminiscences.

Perfume in cut crystal;
Combs, steel files,
Straight scissors, curved
And brushes of thirty kinds
For both nails and teeth

are replaced by the second hero with soap (with which he rubs both cheeks for an extremely long time, “supporting them from the inside with his tongue”) and a towel (with which he wipes his face, “starting from behind his ears and snorting twice before in the very face of the tavern servant”). To top it off, he “plucked two hairs out of his nose” in front of a mirror. It is already difficult for us to imagine him “like the windy Venus”, “the second Chaadaev”. This is a completely new hero. Reminiscences show his continuity. If Onegin carries within himself “an illness whose cause should have been found long ago,” then Gogol, as it were, tries to reveal this “ailment” more deeply in order to get rid of it later. The motif of the hardening of the human heart sounds in Dead Souls with increasing force.

The decline, reaching the parody, plays an important semantic role. It is curious to note that the “reduced” hero Chichikov is going to the evening in his own carriage, and the noble Onegin is in a pit carriage. Maybe Chichikov claims to be a “hero of his time”? Whether Gogol sees the evil irony in this is hard to say. One thing is clear, he caught the redistribution of positions in Russian life and reflected this redistribution. In his other work, “Theatrical tour after the presentation of a new comedy,” he speaks about this directly: “It is worth looking closely around. Everything changed a long time ago in the world... Don’t they now have more electricity, money capital, an advantageous marriage than love?” The fact that in Pushkin's novel was a kind of background - an ordinary noble-landlord environment - came to the fore in Gogol.

The landowners visited by Chichikov are in many ways reminiscent of the neighbors Larins, who came to Tatyana's name day. Instead of the “strange companion” of Pushkin, who was even on friendly terms with him (“I became friends with him at that time”), a “scoundrel” hero enters the scene. The author's element in "Dead Souls" is very reminiscent of the lyrical digressions of "Eugene Onegin". Gogol, just like Pushkin, continuously carries on a conversation with the reader, addressing him, commenting on events, giving characteristics, sharing his thoughts .. Recall, for example, the beginning of chapter six, where the author writes: in the summers of my childhood, which flashed irrevocably, it was fun for me to drive up to an unfamiliar place for the first time ... Oh, my youth! oh my freshness!” Do not echoes of Pushkin's poems sound in this passage?

In those days when in the gardens of the Lyceum
I blossomed serenely...

In "Dead Souls" elements of Pushkin's poetics are felt. Let us point out some literary devices characteristic of "Eugene Onegin". First of all, this is irony. Gogol's words have a direct and hidden meaning. Just like Pushkin, Gogol does not hide the conventions of his story. For example, he writes: “It is very doubtful that the hero chosen by us will be liked by the readers.” Pushkin:

I was already thinking about the shape of the plan
And I'll name the hero.

There is no long exposition, the action begins immediately (the characters move at the very first moment: Onegin “flies on the postal ones”, Chichikov drives in a cart at the gates of the hotel). Much in the characters is revealed only later (Onegin's office in the seventh chapter, Chichikov's biography in the eleventh). Pushkin's method of special enumeration appears in Gogol's descriptions. “Meanwhile, the britzka turned into more deserted streets ... Now the pavement ended, and the barrier, and the city behind ... And again, on both sides of the high road, versts, stationmasters, wells, carts, gray villages with samovars rested again to write , women and a brisk bearded master ... a song will drag on in the distance, pine tops in the fog, a bell ringing that disappears far away, crows like flies, and an endless horizon ... ”Compare:

Here on Tverskaya
The wagon rushes through the potholes.
Flickering past the booth, women,
Boys, benches, lanterns.
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men.
Balconies, lions on the gates
And flocks of jackdaws on crosses.

The reminiscences noted above testify to Gogol's assimilation of Pushkin's creative experience.

B. V. Tomashevsky, in the work already mentioned, noted the possibility of the appearance of another kind of reminiscences from Pushkin - connected not with the laws of literary specificity, but with personal perception of impressions from Pushkin's speech, containing accurate and diverse characteristics. We would include the following textual rapprochement in this genus: “His appearance at the ball produced an extraordinary effect.”

Meanwhile, Onegin's appearance
The Larins produced
Everyone is very impressed.

From the point of view of Pushkin's reminiscences, the letter written by Chichikov is interesting. In general, it is perceived as a parody of Tatyana Onegin’s letter, but the words “leave forever the city where people in stuffy fences do not use the air” refer us to the poem “Gypsies”:

When would you imagine
Captivity stuffy cities!
There are people in heaps, behind the fence
Don't breathe the morning chill...

This reminiscence contains more than one Pushkin motif, but, touching upon various elements of Pushkin's world, it seems to create a generalized representation of it. In Gogol's situation, he seems vulgarized. Gogol, apparently, felt with the intuition of the artist what Belinsky expressed in a categorical form in 1835, declaring him the head of literature. Pushkin's time, one had to understand, has passed. Gogol's period in literature carried a completely different flavor. Pushkin's heroes in the new situation could not be taken seriously. Pushkin also did not pass by the problem of a new hero like Chichikov. Even before Gogol's character in The Queen of Spades, Hermann was introduced, for whom the passion for achieving wealth obscures everything human. "He has the profile of Napoleon, and the soul of Mephistopheles." In the fourth chapter of Pushkin's story, we read about Hermann: “He was sitting at the window with folded arms and a menacing frown. In this position, he surprisingly resembled a portrait of Napoleon. In "Dead Souls" at the council of officials "it was found that Chichikov's face, if he turns around and becomes sideways, is very handy for a portrait of Napoleon." This extremely important reminiscence connects the image of Chichikov with the image of Hermann and helps to understand the essence of the first with the help of the second. The analogy of Hermann and Chichikov (who must also have the soul of Mephistopheles) is strengthened by the comparison (through Napoleon) with the Antichrist. Someone said that "Napoleon is the Antichrist and is kept on a stone chain... but after that he will break the chain and take possession of the whole world." So various reminiscences form a synthetic image of a new hero, based on the understanding of Pushkin's literary tradition. Another component of this tradition was difficultly rethought by Gogol in The Tale of Captain Kopeikin. Captain Kopeikin is forced to embark on the path of robbery by the most serious life circumstances. The situation is in many ways reminiscent of "Dubrovsky". The story, which had a complex creative history, in the original version contained a clear plot reminiscence from Dubrovsky in the finale; having accumulated money, Kopeikin goes abroad, from where he writes a letter to the sovereign with a request to forgive his accomplices. The parallel between Kopeikin (who is associated with Chichikov) and Dubrovsky is important for understanding the “robber” element in Chichikov. This element is complexly divided into romantically benevolent and criminally villainous sides. In The Tale of Captain Kopeikin, Pushkin's poems from The Bronze Horseman, dedicated to St. Petersburg, echoed in a peculiar way. “There is some kind of spitz in the air; bridges hang there like a devil, you can imagine, without any, that is, touch. What an amazing parody of Pushkin's magnificent anthem, which contains these words:

Bridges hung over the waters; and light
Admiralty needle.

In Pushkin's Petersburg novel, a "little" man dies. In Gogol's inserted story, another "little" man finds the strength to endure. Pushkin's plot is more tragic, but along with its artlessness and simplicity, it retains a kind of sublime view of things. Gogol's world is completely different. Reminiscences emphasize this difference. However, in the main thing - in thinking about the future of Russia - the two great writers turn out to be in tune. “Isn’t it you, Rus, that brisk, unbeatable troika, rushing about?.. Eh, horses, horses, what kind of horses!., unanimously and at once strained their copper breasts and, almost without touching the ground with their hooves, turned into only elongated lines. .. Rus', where are you going? Give an answer ".

And what a fire in this horse!
Where are you galloping, proud horse,
And where will you lower your hooves?
O mighty lord of Fate!
Are you not so above the abyss itself.
Raised Russia on its hind legs?

In conclusion, we note one more Pushkinian reminiscence when describing Chichikov's arrival in Manilovka: “The view was enlivened by two women who ... walked up to their knees in the pond ... Even the very weather was very usefully served: the day was either clear or gloomy .. To complete the picture, there was no shortage of a rooster, a harbinger of changeable weather...” The elements of this landscape make us remember “Count Nulin”: ........

The turkeys screamed
Following the wet cock;
Three ducks splashed in a puddle;
A woman was walking through a dirty yard,
The weather got worse...

So Pushkin's reminiscences in Gogol's "Dead Souls" reflected his creative assimilation of Pushkin's artistic experience, which gave a tremendous impetus to the development of Russian literature.

“NEW PEOPLE” IN 19TH CENTURY LITERATURE

In the literature of 1850-1860, a whole series of novels appeared, which were called novels about “new people”.

What are the criteria for classifying a person as a “new people”? First of all, the emergence of "new people" is due to the political and historical situation of society. They are representatives of a new era, therefore, they have a new perception of time, space, new tasks, new relationships. Hence the prospect of development of these people in the future. So, in literature, “new people” “begin” with Turgenev’s novels Rudin (1856), On the Eve (1859), Fathers and Sons (1862).

At the turn of the 30-40s, after the defeat of the Decembrists, fermentation took place in Russian society. One part of him was seized by despair and pessimism, the other by scrupulous activity, expressed in attempts to continue the work of the Decembrists. Soon, social thought takes a more formalized direction - the direction of propaganda. It was this very idea of ​​society that Turgenev expressed in Rudin's type. At first, the novel was called "Brilliant nature." In this case, “genius” means enlightenment, striving for truth (the task of this hero is, indeed, more moral than social), his task is to sow “reasonable, good, eternal”, and he does this with honor, but he lacks nature not strong enough to overcome obstacles.

Turgenev also touches upon such a painful issue for Russians as the choice of activity, activity that is fruitful and useful. Yes, each time has its own heroes and tasks. For the society of that time, Rudin's enthusiasts and propagandists were needed. But no matter how severely the descendants may accuse their fathers of “vulgarity and doctrinairism”, the Rudins are people of the moment, of a specific situation, they are rattles. But when a person grows up, then there is no need for rattles ...

The novel "On the Eve" (1859) is somewhat different, it can even be called "intermediate". This is the time between Rudin and Bazarov (again, a matter of time!). The title of the book speaks for itself. On the eve of ... what? .. Elena Stakhova is at the center of the novel. She is waiting for someone ... someone must fall in love ... Whom? Elena's internal state reflects the situation of the time, she embraces the whole of Russia. What does Russia need? Why did neither the Shubins nor the Bersenievs, seemingly worthy people, attract her attention? And this happened because they did not have enough active love for the Motherland, complete dedication to her. That is why he attracted Elena Insarov, who is fighting for the liberation of his land from Turkish oppression. Insarov's example is a classic example, a man for all time. After all, there is nothing new in it (for fail-safe service to the Motherland is not at all new!), but it was precisely this well-forgotten old that Russian society lacked...

In 1862, Turgenev's most controversial, sharpest novel, Fathers and Sons, was published. Of course, all three novels are political, dispute novels, dispute novels. But in the novel "Fathers and Sons" this is especially well noticed, for it manifests itself specifically in the "fights" between Bazarov and Kirsanov. “Battles” turn out to be so irreconcilable, because they represent the conflict of two eras - noble and raznochinskaya.

The acute political nature of the novel is also shown in the specific social conditionality of the “new man” type. Evgeny Bazarov is a nihilist, a collective type. Dobrolyubov, Preobrazhensky, and Pisarev were his prototypes.

It is also known that nihilism was very fashionable among the youth of the 50s and 60s of the 19th century. Of course, denial is the path to self-destruction. But what caused it, this is an unconditional denial of all living life, Bazarov gives a very good answer to this:

“And then we guessed that chatting, just chatting about our ulcers is not worth the trouble, that this only leads to vulgarity and doctrinairism; we saw that even our wise men, the so-called progressive people and accusers, are no good, that we are engaged in nonsense ... when it comes to daily bread ... ”So Bazarov was engaged in obtaining“ daily bread ”. It is not for nothing that he does not connect his profession with politics, but becomes a doctor and “messes with people”. In Rudin there was no efficiency, in Bazarov this efficiency appeared. That's why he's head and shoulders above everyone else in the novel. Because he found himself, raised himself, and did not live the life of an empty flower, like Pavel Petrovich, and even more so, he did not “see off day after day”, like Anna Sergeevna.

The question of time and space is posed in a new way. Bazarov says: "Let it (time) depend on me." Thus, this stern person turns to such a universal idea: “Everything depends on a person!”

The idea of ​​space is shown through the inner liberation of the personality. After all, the freedom of the individual is, first of all, going beyond the framework of one's own “I”, and this can only happen when one gives oneself to something. Bazarov gives himself to the cause, to the Motherland (“Russia needs me ...”), to feeling.

He feels huge forces, but he cannot do something the way he wants. That's why he withdraws into himself, becomes bilious, irritated, sullen.

While working on this work, Turgenev gave great progress to this image and the novel acquired a philosophical meaning.

What was missing from this “iron man”? Lacked not only a general education, Bazarov did not want to come to terms with life, did not want to accept it as it is. He did not recognize in himself human impulses. Here is his tragedy. He crashed against people - this is the tragedy of this image. But it is not for nothing that the novel has such a reconciling end, it is not for nothing that Yevgeny Bazarov's grave is holy. There was something natural and deeply sincere in his actions. This is what comes to Bazarov. The direction of nihilism has not justified itself in history. It formed the basis of socialism... The novel What Is To Be Done? N. G. Chernyshevsky.

If Turgenev created collective types generated by social cataclysms, showed their development in this society, then Chernyshevsky not only continued them, but also gave a detailed answer, creating a program work “What is to be done?”.

If Turgenev did not outline the background of Bazarov, then Chernyshevsky gave a complete story of the life of his heroes.

What distinguishes Chernyshevsky's "new people"?

First, they are Democrats-raznochintsy. And they, as you know, represent the period of bourgeois development of society. The nascent class creates its own new, creates a historical foundation, hence new relations, new perception. The theory of "reasonable egoism" was the expression of these historical and moral tasks.

Chernyshevsky creates two types of "new people". These are “special” people (Rakhmetov) and “ordinary” people (Vera Pavlovna, Lopukhov, Kirsanov). Thus, the author solves the problem of the reorganization of society. Lopukhov, Kirsanov, Rodalskaya rebuild it with creative, creative, harmonious work, through self-education and self-education. Rakhmetov - "revolutionary", although this path is shown vaguely. That is why the question of time immediately arises. That is why Rakhmetov is a man of the future, and Lopukhov, Kirsanov, Vera Pavlovna are people of the present. The "new people" Chernyshevsky in the first place the inner freedom of the individual. The "new people" create their own ethics, solve moral and psychological issues. Self-analysis (unlike Bazarov) is the main thing that distinguishes them. They believe that the power of the mind will bring up the “good and eternal” in a person. The author examines this issue in the formation of the hero from the initial forms of struggle against family despotism to preparation and “change of scenery”.

Chernyshevsky argues that a person must be a harmonious personality. So, for example, Vera Pavlovna (the issue of emancipation), being a wife, a mother, has the opportunity of social life, the opportunity to study, and most importantly, she brought up in herself the desire to work.

“New people” Chernyshevsky “in a new way” and relate to each other, that is, the author says that these are quite normal relations, but in the conditions of that time they were considered special and new. The heroes of the novel treat each other with respect, delicately, even if they have to step over themselves. They are above their ego. And that "theory of rational egoism", which they created, is only a deep introspection. Their selfishness is public, not personal.

Rudin, Bazarov, Lopukhov, Kirsanovs. There were and no. Let each of them have their shortcomings, their theories, which time did not justify. But these people gave themselves to their Motherland, Russia, they cheered for it, they suffered, so they are “new people”.

website- Beauty is an eternal category. Reading works of literature, each of us admired, empathized, and sometimes could see ourselves in the image of the famous heroines of books. A woman for many writers is the embodiment of earthly beauty. Men have written and will always write about women, creating ideal images or capturing women forever in their lines, magical and, moreover, quite real. So why not imagine yourself as one of the main characters of a novel? Imagine yourself in the way that at different times was considered the ideal of beauty, both external and internal.

Perhaps you already associate yourself with one of the beautiful heroines, otherwise, this article will open up a new you in the guise of a literary heroine.

Tatyana Larina

She is silent, shy, likes to mourn at the window, does not like noisy games and girlish conversations of her friends. Therefore, in her family she appears to be a “stranger girl”, she does not know how to ask relatives for affection. However, the heroine is familiar with the subtlest spiritual impulses: they simply do not reveal themselves to others. She is a romantic person. She loves to read books, vividly experiences various feelings and adventures with their heroes. She is attracted to everything mysterious, mysterious. When the heroine falls in love, the depth of her romantic nature is revealed. Yesterday's timid girl turns out to be unexpectedly bold. She is the first to confess her love, the first to write letters. Her love comes from the heart, it is a pure, tender, shy feeling.
This image embodies the sensitivity, femininity, dreaminess of the individual.

Bulgakovskaya Margarita

Margarita became a muse for the hero. It was she who, after reading the first pages of his novel, called her lover a master. Thanks to her, he wrote a magnificent novel of great artistic value. The heroine has always been true to her love. All this time, the heroine felt unhappy, she did not live, but existed. For a long time, the heroine kept the little that she had left in memory of her beloved.
For the sake of love, she goes to any lengths, casting aside any fears and concerns.
The heroine, faithful in everything and always following her lover, shared his fate with her beloved from beginning to end. It was this image that became the embodiment of true devotion, all-consuming love, captivating inspiration woman.
Bulgakov's Margarita is an image that is undoubtedly bright, original, loving freedom, and with an eternal dream: to leave the hated reality and stop being a prisoner of the limits and prohibitions of the society surrounding the heroine.

Anna Karenina

Anna Karenina - according to the plot, a secular woman who occupies a high position in society. It differs from the rest in moral purity, inability to adapt to circumstances, to be hypocritical. She always felt the falsity of the surrounding relationships.

Her love was unhappy. Although the heroes turned a blind eye to the secular court, but still something interfered with them, they could not completely immerse themselves in love.

The tragic doom of love is associated not only with the harmful influence of society, but also with deep internal circumstances that are hidden in the souls of the characters. She is a freedom-loving, spiritually gifted, intelligent and strong woman, but there was "something cruel, alien" in her feelings.

This is an image of a stately, imperious and at the same time soft and doubting her own principles and positions of a woman.

Turgenev girl

The heroine is an open, proud, passionate girl, striking at first sight with her unusual appearance, spontaneity and nobility. The tragedy of life explains her reverse side: she is shy, does not know how to behave in society. She early begins to think about the contradictions of life, about everything that surrounds her. The heroine radiates moral purity, sincerity, the ability for strong passions, dreams of a feat.

She seems strange and unnatural precisely because she does not like the ordinary life of people in her circle. She dreams of an active, exalted and noble life. Her attention is attracted by simple people, she, apparently, sympathizes and at the same time envies them. She understands the life of ordinary people as a kind of feat. She doesn't want her life to be wasted. But she feels how difficult it is to achieve this.
"Turgenev girl" is a girl who has an independent, wayward character, capable of performing a feat in the name of love and not only.

dream woman

Undoubtedly, our world is improving and modernizing. Views of the world are changing, the pursuit of the ideal is eternal. Images frozen on the pages of books to this day excite our consciousness. Women's perfection, which many brilliant writers and poets tried to see and reveal, is still exciting. The heroines were searched, fantasized, sometimes this image remained only a dream, but someone still managed to find it. For the woman revealed herself real. After all, it is impossible for a woman to be perfect and good for everyone ... the main thing is to always be yourself!

Close your eyes. See? And in you there is a magical particle of a perfect woman, a dream woman.

One of the distinguishing features of Russian classical literature is the depth of its ideological content. There is a relentless desire to resolve the issue of the meaning of life, a humane attitude towards people, and the truthfulness of the image.

And also Russian writers in their works sought to find the image of an ideal Russian woman. They brought out its best features, which are inherent in our people. Few in the literature of the world can one find such beautiful and pure representatives of the weaker sex. They are distinguished by a loving and faithful heart and a unique spiritual beauty.

Only in Russian literature is so much attention paid to the description of the inner world and the most difficult experiences of the female soul. Through all the works one can see the image of a Russian woman, who is a heroine, who has a big heart and a fiery soul, who is ready for exploits.

Russian soul Tatyana

One of the central images of a woman in Russian poetry is the unforgettable image of Tatyana Larina, created by A. S. Pushkin. Throughout the novel "Eugene Onegin" the author emphasizes that she is "Russian in soul". It is shown how she loves the Russian people, Russian nature, patriarchal antiquity, its customs, traditions.

Tatyana appears before the reader as a person who is characterized by the depth of nature and passion of feelings. It is distinguished by such qualities as integrity, sincerity, simplicity. The poet writes that Tatyana loves "without art", she succumbs to the attraction of feelings.

In the secret of her love for Eugene, she does not dedicate anyone except the nanny. But the depth of love cannot outweigh the feeling of respect and duty towards her husband. She does not want to dissemble and informs Eugene that she loves him, but she will be faithful to her lawful spouse all her life.

In this novel, A. S. Pushkin gave the image of a Russian woman who takes life, love and duty very seriously. It is distinguished by the depth of experiences, the complexity of the spiritual world. The author makes it clear that these features are directly related to Russian nature, the Russian people, under the influence of which a truly Russian woman was formed, a person with a big and beautiful soul.

Modest Masha Mironova

In The Captain's Daughter, A. S. Pushkin brought out the image of a modest Russian girl - Masha Mironova. It would seem that he is not outstanding at all. But if you look at it more closely, you can see the depth of her feelings, and a serious attitude towards love. She cannot express them verbally, but she remains faithful to them all her life. Masha is willing to do anything to save her loved one, to sacrifice herself for the life of her parents.

Peasants and Decembrists

The images of Russian women of Nekrasov stand apart in domestic poetic works. This remarkable poet is called their singer. Before and after that, none of the poets paid so much attention to them.

With genuine pain, Nikolai Alekseevich spoke about the difficult fate of Russian peasant women. He wrote that the keys to their female happiness are long lost. But, despite this, the slavish, humiliated life did not break their inherent sense of pride and dignity. This is Daria, familiar to us from the poem "Frost Red Nose". The image of this Russian peasant woman is the image of a bright person, pure in soul and heart.

Great love and warmth is felt in Nekrasov's portrayal of the Decembrist women, who, without any hesitation, followed their husbands to Siberia. Princesses Volkonskaya and Trubetskaya are ready to fully share with them all the hardships, disasters and hardships, prison and hard labor.

Light beam - Katerina

It is impossible not to note this image of a Russian woman, which is full of beauty and tragedy at the same time. This is Katerina from "Thunderstorm" by N. A. Ostrovsky. According to N. A. Dobrolyubov, it reflected a number of the best features characteristic of the Russian people. We are talking about spiritual nobility, striving for freedom and truth, readiness for protest and struggle.

Everyone remembers that the critic called Katerina a ray of light that broke through the dark realm of the suffocating patriarchal merchant world of Kabanikhi and Dikiy. This woman is characterized as exceptional, possessing a poetic, dreamy nature. Finding herself in an atmosphere of hypocrisy, hypocrisy, being married to the unloved, she experiences genuine deep suffering.

But when she meets a person close to her in her moods in the "dark kingdom", a romantic feeling flares up in her brightly. Love becomes for the heroine the main and only meaning of her life. However, the sense of duty in her wins, and she repents before her husband. And although in the finale Katerina dies, throwing herself into the Volga, by doing so she throws down a "challenge to the tyranny of power."

Connoisseur I. S. Turgenev

Another great master in creating images of Russian women is I. S. Turgenev. He was a subtle connoisseur of the female soul and heart and brought out an amazing gallery of images. In The Nest of Nobles, the reader is presented with a pure, bright and strict Lisa Kalitina. With the women of Ancient Rus', she is brought together by such features as a deep religious feeling, a sense of duty and responsibility for her actions.

However, the writer also depicts women of a new type. These are Elena Stakhova from the novel "On the Eve" and Marianna from "Novi". So, Elena is trying to break out of the narrow family framework, to plunge into the turbulent stream of social activity. However, the living conditions that existed at that time did not give women such an opportunity. After the death of a loved one, Stakhova devotes her life to a holy cause. She participates in the liberation of the people of Bulgaria from the Turks.

woman for the family

One of the most beloved and most developed images of a woman in Russian literature is the image of Natasha Rostova in Leo Tolstoy's War and Peace. The great writer contrasts it with the image of Vera Pavlovna in Chernyshevsky's novel What Is To Be Done? Disagreeing with the ideology of the raznochintsev democrats, Tolstoy draws the image of a woman created not for social activities, but for the family.

Natasha is a determined and cheerful girl, close to the people. It has economy and practicality. When Napoleon entered Moscow, she, like many representatives of the most diverse strata of Russian society, experienced a genuine patriotic upsurge.

But the life ideals of the heroine are not complex, they are in the field of the family sphere and are clearly manifested at the end of the novel, when the reader sees Natasha surrounded by a happy family.

Thus, the largest of the Russian poets and writers managed to bring out a whole galaxy of beautiful images of Russian women, revealing in all their richness all their qualities, which include intelligence, purity, the desire for happiness, struggle, freedom.