Turgenev asya history of creation presentation. Presentation for the work of I.S.

I.S. Turgenev "Asia". Mr. N.N. and Gagin. Russian and German literary traditions in the story.

Name the heroes of the story by I.S. Turgenev "Asya".

How do their actions make you feel?

"Deeds of bygone days..." - a quote from Pushkin's poem "Ruslan N Lyudmila" - the beginning of the first song.

"... In the Dresden "Grun Gevelbe" - Grline Gewolbe - literal translation: "green arch". A collection of gold jewelry and a dredge of precious stones in the Dresden Royal Castle.

"Rooster on a high Gothic bell tower..." - the old church of St. Peter in Sinzig with a central octagonal tower of the XVIII century.

Mr. N.N. and Gagin.

What unites Gagin and Mr. N. N?

Russian and German literary traditions in the story

Germany is an important cultural context for the story. In the atmosphere of an old town, "the word" Gretchen "- not an exclamation, not a question - just begged to be on the lips." Gretchen is the heroine of the tragedy by I.V. Goethe "Faust", a young, inexperienced girl of strict rules. She fell in love for the first time in her life and cannot resist the feeling, she is ready for self-sacrifice for the sake of love.

Goals and objectives of the lesson:

1. the formation of a sense of beauty through the poetic text of the story, music;
2. to introduce students to a literary work of the 19th century, studying from the point of view of the concept of historicism in literature;
3. to teach eighth graders the textual analysis of the story and the analysis of the episode of the work, to see and understand the meaning of a detail in a literary work;
4. to teach children to understand the "psychologism" of the story, to understand the means of expressiveness of the language.

Equipment:

1. portrait of I.S. Turgenev;
2. on the board:
   - the topic of the lesson;
   - the epigraph "And happiness was so possible" (A.S. Pushkin);
   - “Happiness has no tomorrow ... It has a present - and that is not a day - but a moment” (I.S. Turgenev);
3. "theatrical scenery": one half of the board is designed as a window with a window sill; on the windowsill there is a pot with flowering geraniums, a candlestick, an open book, on it is a dried geranium sprig, next to it are yellowed pieces of paper folded with notes.

During the classes.

Love, love is a mysterious word.
Who could fully understand you?
Are you always old or new in everything?
Anguish of the Spirit or Grace?

It was no coincidence that I started the lesson on I.S. Turgenev’s story “Asya” with these poetic lines. Why do you think? Yes, the main thing in the story is love. Everything about her, about love, about serious and strict, about secret and important...

Love ... is probably the most mysterious of all human feelings, and Turgenev, as perhaps one of the few writers, perceived with poetic awe the birth of an eternally young feeling - love. How to deal with heart disease, how to overcome sadness? Unrequited love - what is it? How to be the first to say “I love you” to a person in whom you are not quite sure? How to endure the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who falls in love. Colors become brighter, sounds more distinct! After all, having fallen in love, a person feels more subtle, sees more sharply, his heart opens to beauty, goodness ...

Questions, questions... We won't find direct answers from Turgenev, but all Turgenev's heroes pass the "test of love", a kind of test of viability. A loving person, according to Turgenev, is beautiful, spiritually inspired. One of the researchers of I.S. Turgenev, P. Annenkov, wrote that Turgenev's novels and stories are united by one feature - each of them has a "psychological riddle". So today we have to try to unravel this psychological riddle, to understand what means the writer uses in order to reveal to us the secret of spiritual experiences; trace how N.N. with the Gagins, it develops into a love story, which turned out to be a source of sweet romantic languor for the hero, as well as bitter torments, which later, over the years, although they lost their sharpness, doomed the hero to the fate of a bean.

So, let's turn to the text of the story.

The story is written in the form of a story by N.N. about how many years ago he traveled around Europe and in a small German town he met and became friends with Russians: Gagin and his sister Asya. The narrator reports not only about events, conversations, describes the situation, but, most importantly, reproduces the story of his love, reliving the past.

- What can you say about N.N. on whose behalf the story is being told? How did he perceive the world around him?

N.N. - a rich nobleman, an artist at heart; he is obsessed with the desire to observe, especially people; he is an idle traveler, an observer.

- What struck the Gagins N.N. at the first meeting?

N.N. perceives brother and sister as people of different psychological levels, and portrait characteristics amaze the reader with accuracy and brevity. The narrator noted the obvious dissimilarity and internal contrast of the Gagins. This further sharpened his curiosity and susceptibility. Faithful to the habit of observing people and reading in their souls by the expression of their faces, by involuntary gestures, the narrator, at the first meeting with Asya, notes something of his own, special in the features of her swarthy face, in her hairstyle, in her manners. He describes in detail Asya's behavior, completely devotes himself to observing her movements, her gaze, her smile.

- The story about the first day of acquaintance with the Gagins ends with a lyrical landscape; read it.(Reading the text of the story is accompanied by Strauss's waltz "Over the Blue Danube").

- Does this landscape correspond to the mood of N.N.?

The landscape miniature becomes a means of expressing the hero's romantic exaltations. The meeting with the Gagins sharpened his attention to beauty. Therefore, he devotes himself entirely to contemplation and an elevated mood.

- What is the state of mind of N.N. after the first day of dating?

Mr. N.N. all mellow with sweet languor and the expectation of happiness.

- Where did you meet N.N. with Gagin Asyu on the second day of acquaintance?

Asya was sitting on the ledge of the wall on the ruins of the feudal castle right above the abyss. This speaks of the romantic nature of the heroine.

- What feeling does Asya evoke in N.N.? Confirm with the text of the story?(Dislike, annoyance.)

According to her brother, Asya is "free, crazy." N.N. she appears to be a semi-mysterious creature, a "chameleon".

- What "roles" does Asya play? Why is she doing this? Can N.N. answer this question now?

She played the role of a soldier marching with a gun, and this shocked the stiff English; at table she played the role of a well-bred young lady; the next day, she introduced herself as a simple Russian girl, almost a maid ... To answer the question why Asya behaves this way, N.N. still cannot, because he did not understand either Asya or himself.

- How does the second day of dating end?

The hero is not aware of what is happening to him. He feels that some kind of vague anxiety, which grows into an anxiety incomprehensible to him, unpleasant annoyance; then a jealous suspicion that the Gagins are not relatives.

- How is the moral and psychological state of the hero transmitted through the landscape?

Some obscure dark forces burst into the consciousness of the hero, remaining vague, disturbing and even annoying. The "dead" heaviness, incomprehensible to the hero, as the first bursts of unconscious feeling, resolved in the hero's consciousness into a bitter burning excitement, into homesickness.

Two weeks of daily meetings have passed, N.N. he was more and more upset by jealous suspicions, and although he did not fully realize his love for Asa, she gradually took possession of his heart. He was in the grip of this feeling . What mood was dominant during this period?

Persistent curiosity and some annoyance at the mysterious behavior of the girl, the desire to understand her inner world. (Read the beginning of chapter 6.)

- How is N.N.'s suspicion confirmed? that Gagin and Asya are not a brother and sister?(Overheard conversation in the gazebo)

- What feelings take over the hero after this? (end of 6 - beginning of 7 ch.)

The hero himself does not find a definition for his feelings. But we, the readers, understand that he was already captured by a deep and disturbing feeling of love. It is from her that he leaves for the mountains, and when he returns, after reading a note from Gagin, the next day he goes to them.

- What did N.N. about Asa from Gagin's story? ( Selective retelling of Asya's story).

How does the character's state of mind change?

He instantly regains his lost balance and defines his state in this way: “I felt some kind of sweetness - it was sweetness in my heart: it was as if they secretly poured me honey there. It became easy for me after Gagin's story.

After the conversation about Asya, a new phase of the love relationship of Turgenev's heroes followed: now mutual trust and rapprochement has come. What did N.N. for yourself in Asa? Why did he like her?

Reassured, N.N. realized that the strange girl had attracted him not only by her half-wild charms, but he liked her soul.

Everything around the lovers is illuminated by a magical light: “I looked at her, all bathed in a clear sunbeam, all calmed and meek. Everything shone joyfully around us, below, above us - the sky, the earth and the waters; the very air seemed to be saturated with brilliance. (Ch. 9) Asya says to her beloved: “If we were birds, how we would soar, how we would fly. So they would have drowned in this blue ... ". How to understand these words?

Love inspires a person, raises his reptile with everyday life. The literary critic M. Gershenzon wrote: “Here is the image of love, according to Turgenev (he loved allegorical scenes): love swoops down on a person like a thunderstorm on a clear day, and in its stunning whirlwind wings suddenly grow in the soul, a person turns into a bird, with a swift flight birds, with their indomitable will.

What N.N. felt on this day after Gagin's sister's story, the merry waltz with Asya and her call to imagine that they have grown wings?

N.N. I felt, on the one hand, a secret anxiety in my heart, on the other, an intoxication with the joy of rapprochement; he had a burning desire for happiness.

- How does Turgenev help us, readers, understand the psychological state of the hero at this moment?

Through landscape painting. (Artistic reading of an excerpt from chapter 10 against the background of Strauss waltz sounds) The landscape, as it were, absorbs the psychological state of a person, becoming the “landscape” of the soul.

Poisoned by the sweet poison of a boiling feeling, the romantic hero finds anxious expectation and anxiety in everything: “there was no peace in the sky”, in the “dark, cold depths” of the river with the quiet murmur of water behind the stern, in the whisper of the wind, an alarming revival seemed everywhere. It is at this moment of merging with nature in the inner world of the hero that a new leap is made: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya, but which the hero has not yet dared to call by name.

Time, as it were, stops for the hero, overwhelmed with the expectation of happiness, and only after Asya’s bitter confession that “her wings have grown, but there is nowhere to fly” (and what did Asya hide under these words, how to understand them?), Our hero decides to think about the question : "Does she really love me?"

- And the hero himself, what does he feel what is happening in his soul?

His own feeling developed "in a half-sleep of consciousness", according to his own recollections. Sweetness in the heart, the joy of trust and the thirst for happiness still leave the hero in semi-conscious contemplation. The hero prefers to insanely surrender to oncoming impressions: "I'm not only about the future, I didn't think about tomorrow, I felt very good." The psychology of a contemplative, comprehending beauty, experiencing romantic love, suggests a slow pace and an internal stop, deepening into oneself, reflection (thinking full of doubts, contradictions; analysis of one's own psychological state).

And Asya? Close to the "earth", passionately and wholeheartedly feeling, she could not be satisfied with pointless dreams. And so, without thinking about the consequences, without calculation and caution, she appoints a date for her beloved. "Another would have been able to hide everything and wait, but not she," - according to the correct understanding of the brother (ch. 14)

- In what condition was N.N. on a date with Asya?(doubt, hesitation)

And here it is, the most exciting scene of the story - the scene of a date. (Selective reading of the scene by the teacher).

Did you like N.N. in this scene?

- What didn't you like?

- What does he accuse Asya of?

How does he want to justify himself?

The behavior of the hero in the meeting scene seemed outrageous to many critics - Turgenev's contemporaries. However, without justifying the hero and without condemning him, let's try to understand. The date scene is an example of Turgenev's psychologism. The author focuses on the development, change in the psychological state of the hero.

- Why N.N. did you come for a date?

Judging prudently, N.N. came on a date in order to part with Asya forever. “I can't marry her. She won't know that I love her too." However, something touching, helpless in Asya's timid immobility touches the hero so much that he surrenders to the impulse of natural feeling and thereby conflicts with the decision made and with the word that he gave to Gagin. He implicitly understands that the decision to part with Asya does not correspond to the truth of his feelings (remember, “I still didn’t know how the date could be resolved”?). it sincerely seemed to the hero that his feeling was in the process of maturation, and the situation required an immediate solution. Hence his annoyance at the frankness and haste of Asya and Gagin. He condemns in his heart what he says to Asa during a date, since the words do not correspond to his feelings. At the same time, the hero, together with the author, is trying to understand the state of another person, but he only catches the external manifestations of someone else's "I".

- How does Asya behave during N.N.'s rebuke?

N.N. wanted to torment the girl by clarifying his attitude towards her. He, a contemplative, needed time, stopping and thinking about his experiences. And he was surprised by Asya's reaction to the rebuff.

So, the hero himself came to his misfortune: where an impulse of selfless love was required, he gives himself up to reflection (ch. 17).

- And when does the hero come to realize that he loves?

Later, after a date, when he is looking for Asya, when he is afraid that misfortune is possible, that Asya can kill herself. (Ch. 19).

Why did N.N., having heard from Gagin that Asya was found, did not insist on a conversation right there? How does the author feel about this behavior of the hero?

Turgenev condemns his hero. Yes, and N.N. sarcastically talks about his decision to be happy - tomorrow (ch. 20).

But these are the words of a man twenty years older than the young N.N. we are talking about now. And then, in what state does N.N. return? home?(end of ch. 20)

- What happened the next day? Did N.N. his mistake, whether he condemned himself? (end of chapter 21).

- Why did not the happiness of the heroes take place? Why did they split up?

Because the spiritual life of Asya and N.N. proceeded differently. Asya experienced the culmination of feelings during a date, and N.N. at that moment he was ready only to enjoy romantic contemplation, he did not then feel in himself that which removes prudence and caution. The realization of the feeling of love came to him later.

The reason for the life drama of the heroes lies in the difference in their psychological make-up, their temperaments. N.N. - a romantic with a contemplative attitude to the world; this in some situations does not allow the hero to comprehend the attitude towards people in time and even understand himself; this does not allow him to do the right thing. Asya lives by the direct movement of her heart: in her, not a single feeling is half.

So, we traced the development of the hero's feelings, experienced with him the psychological changes in his soul.

Love is a secret. The narrator had to face her, who fully realized his feelings in Asya only when everything was lost, lost because of a word not said in time. But the feelings were not forgotten: twenty years have passed, and N.N. remembers everything to the smallest detail, sacredly keeps the "sacred relics" of love. (We turn to the theatrical scenery of the lesson: a dried geranium sprig, little notes ...)

The seal of the first love will not be erased.
We will remember each other all our lives;
Shared dreams will be shared by both;
Let's deceive the mind and close the heart -
But longing for the past will not die,
And love won't come, won't come
No, love won't come!
V.S. Kurochkin

BRIEF PLOT Written far from Russia, the story tells about the events that took place in a small German town. A certain gentleman meets a girl, falls in love with a dog, dreams of happiness, but does not immediately dare to offer her a hand, but having decided, he finds out that the girl has left, disappearing from his life forever.

Asya is the daughter of a nobleman and a peasant serf. Her mother was a proud woman and did not allow her father to take part in raising her daughter. After the death of her mother, a girl from a peasant hut ended up in her father's manor house. From childhood, Asya realized the complexity of her situation. Self-esteem and distrust developed greatly in the girl, the peasant simplicity disappeared, but some bad habits took root. Despite all the vicissitudes of fate, the girl grew up very attractive. She has a swarthy round face with a small thin nose, almost childlike cheeks and large black eyes. Asya is very mobile and does not sit still for a minute. There is something incomprehensible, mysterious in Asya's behavior. Often her actions are daring, defiant.

Mr. N.N., a young man of about twenty-five, an attractive and rich nobleman, travels around Europe "without any purpose without a plan." In almost every town he has a lady of the heart. In one German town, the hero meets Asya and Gagin. Good relations develop between them. A strong feeling gradually arises between Asya and N. The heroine is ready to do anything for love, but N. was afraid of responsibility.

The content of Asya is not limited to the psychological study of a certain social phenomenon. The story also touches upon problems of a timeless, extra-social nature, and, above all, the problem of true and false values. Even in episodes not directly related to the movement of the plot, Turgenev sought to express his sense of the richness of the world, the beauty of a person who "is the highest moral value." In the story, the life of the soul, its ability to reject the false and strive for the true, is opposed to the limitations of the mind, the disharmony of human relations.

After reading the story, I see that Turgenev loves his heroine very much. I also like Asya. But I think it will be difficult for her to find her place in life. She seemed to have sailed away from one shore, but did not land on the other ... This duality of her position will prevent Asya from communicating with people and building her family. This can be seen in her attitude towards N.N. Asya fell in love deeply, strongly and recklessly. But such a girl needs either everything or nothing. And not finding in the heart of N.N. of the same reciprocal feeling, Asya leaves forever without saying goodbye.

I.S. Turgenev

On the psychologism of Turgenev's prose.

In Turgenev's novels, the author's attention is focused on actual, "modern" social types and phenomena, while in the stories it is always about more abstract issues, about something "timeless".

In the field of psychology, he proved to be a great master, capturing really the finest, unsteady movements of the soul, almost not translatable into logical categories.

A kind of trilogy with the story "Asya" is made up of the stories "First Love" (1860) and "Spring Waters" (1872) - about the slavish dependence of a person on love, about the power of "those secret forces on which life is built and which occasionally, but suddenly break through", about the need for "renunciation" and sacrifice in the face of these forces.

"Asya" Turgenev began in the summer of 1857 in Sinzig am Rhein, where the story takes place, and finished in November in Rome .

Turgenev worked on the story from July to November 1857. The slow pace of writing was due to the author's illness and fatigue (the editors of Sovremennik expected the story much earlier). By Turgenev's own admission, the idea of ​​the story was connected with a fleeting picture he saw in a German town: an elderly woman looking out of a window on the first floor, and the head of a young girl in the window above. Turgenev tried to imagine the fate of these people: this is how the idea of ​​\u200b\u200bAsya arose.

Among the prototypes of the heroes of Asya, Turgenev himself and his illegitimate daughter Pauline Brewer, who was in exactly the same position as Asya, are named first of all: the daughter of a master and a peasant woman, she came from a peasant hut to the noble world, where she felt like a stranger. Another prototype of Asya could be V. N. Zhitova - illegitimate sister of Turgenev .

When does rebirth take place? Let's look at the text of the story. Outwardly, the girl is not beautiful, although it seems to the narrator very "cute". This is typical of Turgenev's heroines: personal charm, grace, and human originality are important to the author in their appearance. That's what Asya is like. “There was something of her own, special, in the warehouse of her swarthy large face, with a small thin nose, almost childish cheeks and black, bright eyes. She was gracefully built…” What an interesting detail of the portrait: black, light eyes. This is not just external observation, but penetration with just one word. "light" into the depths of the heroine's soul.

– Where does the story begin? It begins on the banks of the Rhine on a stone bench, near which stands a statue of the Madonna. The description of her is symbolic: Sitting on "stone bench" under "a lonely huge ash tree" , N. sees through his branches "sad" face "a little Madonna with an almost childish face and a red heart on her chest, pierced by swords ..." . "Almost baby cheeks" And "graceful" , but not yet fully developed addition was noted by N. in the guise of Asya at the time of meeting the girl.

What is hidden under the term “Turgenev girl?

"Turgenev girl". This term carries all the most tender and wonderful female character traits.

If the author makes the image of Gagin completely understandable to the reader, then his sister appears as a riddle, the solution of which N. takes a great interest at first with curiosity, and then selflessly, but still cannot comprehend to the end. Her unusual liveliness is bizarrely combined with a timid shyness caused by her illegitimate birth and long life in the village. From this comes her unsociableness and thoughtful daydreaming (remember how she loves to be alone, constantly runs away from her brother and N., and on the first evening of meeting she goes to her place.

The change in the state of mind of Mr.

On the first day of N.'s acquaintance with Asya (in the ruins of the feudal castle), Mr. N. feels only hostility and annoyance towards her. She introduces herself to him "semi-mysterious creature", "chameleon" . She takes the role of a soldier marching with a gun, then a well-bred young lady, then a simple Russian girl.

I.S. Turgenev subtly conveys the “psychologism” of the protagonist: he is not aware of what is happening.

Mr. N. is either aware of anxiety, or suspects that Gagin and Asyan are not relatives, he is jealous. He is seized by that curiosity, that desire to understand the inner world of the girl. After 2 weeks, they are completely ruled by love.

It is very difficult to make a complete picture of the character of Asya: it is the embodiment of uncertainty and variability. (“ What a chameleon this girl is!” - N. involuntarily exclaims.) Now she is shy of a stranger, then she suddenly laughs (“Asia, as if on purpose, as soon as she saw me, burst out laughing without any reason and, out of her habit, immediately ran away” . Either she climbs the ruins and sings songs loudly, which is completely indecent for a secular young lady, then she begins to portray a well-bred person, prim in respect for decorum.

After listening to the reading of Goethe's poem "Hermann and Dorothea", she wants to appear homely and sedate, like Dorothea. After “imposes fasting and repentance on himself” and turns into a Russian provincial girl. It is impossible to say at what point she is more herself. Her image shimmers, shimmering with different colors, strokes, intonations. The rapid change of her moods is aggravated by the fact that Asya often acts inconsistently with her own feelings and desires.

The image of Asya expands endlessly, because in her the elemental, natural principle manifests itself. The amazing diversity and liveliness of Asya, the irresistible charm, freshness and passion stem precisely from here. Her fearful "wildness" also characterizes her as "natural person" away from society. When Asya is sad, on her face "shadows run" , like clouds across the sky, and her love is compared to a thunderstorm, as if guessing N.’s thoughts, and the heroine shows her “Russianness”.

Asya reads a lot indiscriminately (N. finds her reading a bad French novel and, according to literary stereotypes, composes a hero U Asya "no feeling is ever half" . Her feeling is much deeper than that of the hero.

For all its sublimity, selfish in its orientation, Asya's desire for "difficult feat" ambitious desire "leave a trace" involves living with and for others.

In Asya's imagination, lofty human aspirations, lofty moral ideals do not contradict the hope for the realization of personal happiness, on the contrary, they presuppose each other.

She is demanding of herself and needs help to fulfill her aspirations. Asya's "wildness" is especially pronounced when she climbs alone over the ruins of a knight's castle overgrown with bushes. When she, laughing, jumps on them, "like a goat." it fully reveals its closeness to the natural world. Even her appearance at this moment speaks of the wild unbridledness of a natural being: “As if guessing my thoughts, she suddenly threw a quick and piercing glance at me, laughed again, jumped off the wall in two jumps. A strange smile slightly twitched her eyebrows, nostrils and lips; dark eyes squinted .

A soul that is impossible not to love.

Tenderness, the ability to sincere strong feelings, the absence of artificiality, falsehood, coquetry.

Aspiration to the future.

Strong character, readiness for self-sacrifice.

Activity and independence in deciding their own destiny.

Asya in the representation of Gagin

“You need to know her well in order to judge her, she has a good heart, but a troubled head. It's hard to deal with her."

- “Do not tease her,” he warns the narrator, when they saw her on the ledge of the wall, over the abyss. “You don’t know her: she, perhaps, will climb the tower .... trouble if she loves someone!”

- “How deeply she feels and with what incredible strength these feelings are in her ..”

- "Asya needs a hero, an extraordinary person - or a picturesque shepherd in a mountain gorge."

Gagin about Asya.

“... what a crazy. Don't tease her, you don't know her: she'll probably climb the tower again."

“She has a very kind heart, but a troubled head. She's hard to get along with."

"She never has a feeling halfway."

"She's real gunpowder ... it's a disaster if she loves someone."

"Asya needs a hero, an extraordinary person - or a picturesque shepherd in a mountain gorge."

The story "Asya", chapter 9

In chapter 9, the motive of love appears, which inspires a person. For Asya, everything develops rapidly and rapidly, but for Mr. N. - gradually.

Asya is not like everyone else. She needs an extraordinary person, because only he can understand and love her for who she is.

N. loved Asya, but did not immediately understand this: in the world of artificial feelings and passions, he first met with sincerity and real feeling. In addition, N. belonged to those people who willingly indulge in "hot and enthusiastic reflections", but succumb to the need for a real act. That is why N. missed his happiness.

The role of the landscape

• Vague, dark forces burst into the consciousness of the hero, vague irritating, disturbing sensations take possession of him. Incomprehensible to the hero "dead heaviness" growing into "burning excitement"

The story "Asya", 1857.

The hero of "Asia" gives up at the decisive moment of the explanation with the girl, and N.G. Chernyshevsky, in his article "Russian man on rendez-vous", therefore interpreted him as a typical "superfluous person" brought up by the old serfdom.

However, the hero of the story is not destroyed by weakness, but by the uncontrollable, cruel power of love, which breaks his life.

The role of chapter 16

Chapter 16 helps to understand the words of I.S. Turgenev:

"Happiness has no tomorrow ... it has a present - and then, not a day, but a moment."

Turgenev's heroines seem to be dominated by "evil fate": they are all united "a strict attitude to life and a premonition of the inevitability of retribution for the pursuit of personal happiness" .

Turgenev shows what strength, spiritual take-off Asya's feeling reached when she admits that she is ready to take off like free birds. Asya was so open to her love that she was ready to entrust her fate to Mr. N. How much sincerity, gratitude lies in just one word that she uttered during their last meeting - “your”! Asya suffers, worries, does not want to be considered frivolous, even falls ill due to the uncertainty of the main character towards her. And he, in turn, began to reproach her for excessive openness, sincerity. Only many years later, after the experience gained, the narrator understands the price of what he has deprived himself of.

Criticism considered the hero of the story a classic type "extra person" - indecisive, not finding a place in life. N. G. Chernyshevsky devoted his article “A Russian man on rendez-vous” to the image of the hero “Asia”, but in it he showed Mr. N. on the other hand - cruel towards Asa. In his reflection, Chernyshevsky criticizes Turgenev himself as a writer.

The story "Asya", 1857. Conclusions.

This story is about first love. It is light, clean, bright, sincere and sad at the same time.

The heroine of the story is happy because she loves, because she has learned what love is.

Mr. N. could have been happy too, but he realized it too late.

The main idea of ​​the story by I.S. Turgenev's "Asya" is this: happiness is instantaneous, transient, it has neither past nor future. (Ch. 20. "Tomorrow I will be happy..." )

Literature:

1. N. G. Chernyshevsky. Classics of Russian literature. Russian man man on rendez-vous. Reflections on reading the story by I.S.

2. http://www.proza.ru/2007/08/01-132

3.http://www.litra.ru/composition/download/coid/00192731252431166725/

4. http://5litra.ru/proizvedeniya/russian_classik/368-povest-is-turgeneva-asya.html

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OBJECTIVES OF THE WORK To find out which heroines literary critics call "Turgenev's girls". What character traits does the heroine of I.S. Turgenev’s story “Asya” have?

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OBJECTIVES To study the main stages of the life and work of I.S. Turgenev. Understand what is hidden under the term "Turgenev's girl". Understand what character traits the heroine of I.S. Turgenev’s story “Asya” has and why she belongs to the images of “Turgenev’s girls”. How did the critics rate this image?

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The main stages of the life of I.S. Turgenev. All of Turgenev's prose is permeated with Pushkin's motifs. Pushkin was for Turgenev the most important landmark in Russian literature. No less important for Turgenev was the German literary and philosophical tradition, primarily in the person of J.W. Goethe; it is no coincidence that the action of "Asia" takes place in Germany. The main features of the love story are a small circle of characters. Love stories, they are also often called "elegiac" not only for the poetry of feeling and the beauty of landscape sketches, but also for their characteristic motifs, from lyrical to plot ones. With purely romantic idealism, Turgenev's heroes demand everything or nothing from life.

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"Asya" Turgenev began in the summer of 1857 in Sinzig am Rhein, where the story takes place, and finished in November in Rome.

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What is hidden under this term? "Turgenev girl". This term carries all the most tender and wonderful female character traits. If the author makes the image of Gagin completely understandable to the reader, then his sister appears as a riddle, the solution of which N.N. gets carried away at first with curiosity, and then selflessly, but still cannot comprehend to the end. Her unusual liveliness is bizarrely combined with a timid shyness caused by her illegitimate birth and long life in the village. From here comes her unsociableness and thoughtful daydreaming (remember how she loves to be alone, constantly runs away from her brother and N.N., and on the first evening of meeting she goes to her place.

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It is very difficult to form a complete picture of Asya’s character: it is the embodiment of uncertainty and variability. (“What kind of a chameleon this girl is!” - N.N. me, burst out laughing without any reason and, according to her habit, immediately ran away. "Now she climbs through the ruins and sings songs loudly, which is completely indecent for a secular young lady, then she begins to portray a well-bred person, prim in observance of decency.

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What is hidden under this term? After listening to the reading of Goethe's poem "Hermann and Dorothea," she wants to appear homely and sedate, like Dorothea. Then he "imposes fasting and repentance on himself" and turns into a Russian provincial girl. It is impossible to say at what point she is more herself. Her image shimmers, shimmering with different colors, strokes, intonations. The rapid change of her moods is aggravated by the fact that Asya often acts inconsistently with her own feelings and desires.

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The image of Asya expands endlessly, because in her the elemental, natural principle manifests itself. The amazing diversity and liveliness of Asya, the irresistible charm, freshness and passion stem precisely from here. Her fearful "wildness" toe characterizes her as a "natural person", far from society. When Asya is sad, “shadows run across her face” like clouds across the sky, and her love is compared to a thunderstorm, as if guessing N.N.’s thoughts, and the heroine shows her “Russianness”.

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Understand what character traits the heroine of I.S. Turgenev’s story “Asya” has and why she belongs to the images of “Turgenev’s girls”. Asya reads a lot indiscriminately (N.N. finds her reading a bad French novel and, according to literary stereotypes, composes a hero for herself. Asya "no feeling is half"). Her feeling is much deeper than that of the hero. For all her sublimity, she is selfish in her orientation, then Asya's desire for a "difficult feat", an ambitious desire to "leave a trace" implies life with others and for others.

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In Asya's imagination, lofty human aspirations, lofty moral ideals do not contradict the hope for the realization of personal happiness, on the contrary, they presuppose each other. She is demanding of herself and needs help to fulfill her aspirations. Asya's "wildness" is especially pronounced when she climbs alone over the ruins of a knight's castle overgrown with bushes. When she, laughing, jumps on them, "like a goat." it fully reveals its closeness to the natural world. Even her appearance at this moment speaks of the wild wildness of a natural being: “as if guessing my thoughts, she suddenly cast a quick and piercing glance at me, laughed again, jumped off the wall in two jumps. A strange smile slightly twitched her eyebrows, nostrils and lips; dark eyes squinted.

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Asya's illegitimacy looks like inferiority and leads to the inability to endure the refusal of Mr. N.N., and on the other hand, it gives her genuine originality and mystery. Asya behaves differently from noble girls. Asya dreams of being like Pushkin's Tatyana, the heroine of the novel "Eugene Onegin". With Tatyana, she is related by sincerity, artlessness of feeling. Like Tatyana, she will be the first to write to her beloved, make an appointment, express her feelings.

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Assessment of the image by critics. In the article “The Russian Man on Rendez Vous”, dedicated to the novel by I.S. Turgenev "Asya", a contemporary of the writer, critic Chernyshevsky, showed how a significant part of the public reacted to the first publication of the story, assessing the character and actions of the main character. The critic condemns those readers who took the side of N.N., not wanting to notice either Asya's self-sacrifice or the nobility in her actions. Why does Chernyshevsky speak not about wine, but about the misfortune of the protagonist of the story? The character of the hero is socially motivated. He is the son of his era. And this is not his fault.

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Observations and conclusions about the character and actions of Asya will allow us to approach the concept of the literary type (generalized image) of the “Turgenev girl”. What is characteristic of him? A soul that is impossible not to love. Tenderness, the ability to sincere strong feelings, the absence of artificiality, falsehood, coquetry. Aspiration to the future. Strong character, readiness for self-sacrifice. Activity and independence in deciding their own destiny.

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The images of Turgenev's heroines, with all the unique originality of each of them, have developed into a single image of the "Turgenev girl" characteristic of Russia. For the first time, the main features of this image appeared in the heroine of the novel by I.S. Turgenev "Rudin" - Natalya. “The writer’s contemporaries were surprised and attracted by her desire for a different life and the expectation of a figure who would be able to show the way to it,” wrote G. A. Vyaly, a Russian critic and literary critic, about Turgenev’s heroines.

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And at the same time, Turgenev's heroines seem to be dominated by "evil fate": they are all united by "a strict attitude to life and a premonition of the inevitability of retribution for the pursuit of personal happiness."