The image of nature in the work of Asya. The essay “Pictures of Nature in Turgenev’s Story “Asya”
Lesson objectives:
- promote the development of thinking by inviting analysis artistic text;
- repeat the characteristics of homogeneous members of a sentence;
- consolidate the skills of placing punctuation marks with homogeneous members.
Tasks:
- organize search and research work of students on linguistic analysis literary work;
- to activate students’ knowledge about homogeneous members of a sentence;
- improve communication skills, engage in active work, to form cultural and aesthetic skills, to educate attentive readers, sensitive to artistic expression who love and understand nature.
Equipment:
- Table “Functions of landscape in a literary work.”
- Reproductions of paintings by Russian artists.
- Cards-tasks with examples of descriptions of nature from the story “Asya”.
Epigraph:
Man cannot help but be fascinated by nature; he is connected with it by a thousand inextricable threads: he is her son!
I.S. Turgenev.
DURING THE CLASSES
Teacher's opening speech.
I.S. Turgenev said: “A person cannot help but be fascinated by nature, he is connected with it by a thousand inextricable threads: he is her son!..” We constantly feel this connection with nature - “a thousand inextricable threads” throughout our lives: it is also in the changing of times years, and in the strict sequence of periods of human life: childhood, youth, maturity, old age, and in the influence on the physical and mental state of a person, and in the environmental situation, which has so menacingly declared itself recently.
We feel nature in the special harmony of musical sounds, and in the unique coloring of paintings, and in the lyrical descriptions of literary artists. But, unfortunately, we are not always able to understand it, to open our souls to its greatness and beauty.
I hope today's lesson will help you with this.
Student message. From the very beginning of his work, starting with “Notes of a Hunter,” I.S. Turgenev became famous as a master of landscape. His landscape sketches are not only highly artistic, naturalistically correct and detailed, but also always “not accidental” in the text of the work. The brush of the master - the artist of words - is amazingly talented. All combinations of figurative and expressive language used by the writer in landscape sketches are diverse and unique. The landscape in his works always plays a very definite role. It is sometimes lyrical, sometimes social, sometimes romantic, sometimes psychological, when inner world heroes are recreated not directly, but through their relationship to nature. Life is eternal and Love is eternal, and Nature is eternal, which is stronger than death
For I.S. Turgenev’s two words: “Write” and “Love” will remain inseparable for life. The young Spanish singer Polina Viardot, together with her 40-year-old French husband Viardot, comes from Paris to St. Petersburg. Here dizzying success awaits her, “general intoxication of delight.” It is remarkable that more than thirty years after his first meetings with Viardot, Turgenev began one of his wonderful prose poems with lines from a poem by the poet Metlev, with whom three decades ago he admired Pauline Viardot and her velvety amazing voice.
Before we start working with the text, listen to the prose poem by I.S. Turgenev “How beautiful, how fresh the roses were...”.
Reading the poem “How beautiful, how fresh the roses were...” - Tell me what you saw or heard? What is this poem about? - Today in class we will talk about the role the landscape plays in I.S. Turgenev’s story “Asya”. Analyzing these passages, we will repeat the signs of homogeneous members of a sentence and draw a conclusion about the use of homogeneous members of a sentence in a literary text.
Questions for students:
1) What is a landscape? (Landscape is a description of nature in a work of art.)
2) What is the role of landscape in a work of art? (The background against which events develop; helps to convey the state of the hero.)
3) For what purpose does Turgenev introduce landscape into the story? (The landscape in a work is not just a backdrop against which events unfold; nature helps the writer convey internal state hero; his experiences.)
4) Why do you think I.S. Turgenev is called a master in creating landscapes? (Turgenev’s landscape is psychological: with the help of a description of nature, the writer conveys the hero’s inner world.)
Work with text. Exercise.
Find a description of nature in Chapter 2. Read the first passage, maintaining correct intonation. Write out a sentence with homogeneous members and analyze it according to the following scheme:
a) underline homogeneous members;
6) determine the semantic relationships between homogeneous members;
c) explain the placement of punctuation marks;
d) make an outline of the proposal.
First excerpt.
1) On both sides, on ledges, grapes grew; the sun had just set, and a scarlet, marshy light lay on the green vines, on the tall stamens, on the dry ground, dotted entirely with large and small flagstones, and on the white wall of a small house, with slanting black beams and four light windows, standing at the very top of the mountain which we climbed.
Second excerpt.
The view was absolutely wonderful. The Rhine lay before us all silver, between green banks; in one place it glowed with the crimson gold of sunset.
2) The town nestled on the shore showed all its houses and streets; Hills and fields scattered widely.
3) It was good below, but even better above: I was especially struck by the purity and depth of the sky, the radiant transparency of the air.
4) Fresh and light, it quietly swayed and rolled in waves, as if he, too, felt more at ease at the height.
Third excerpt.
5) The day had long gone out, and the evening, at first all fiery, then clear and scarlet, then pale and vague, quietly melted and poured into the night, and our conversation continued, peaceful and meek, like the air that surrounded us.
Gagin ordered a bottle of Rhine wine to be brought; We sawed it slowly. The music still reached us, its sounds seemed sweeter and more tender; lights were lit in the city and over the river. Asya suddenly lowered her head so that her curls fell into her eyes, fell silent and sighed, and then told us that she wanted to sleep and went into the house; I, however, saw how she stood for a long time outside the unopened window without lighting the candles.
6) Finally the moon rose and began to play along the Rhine; everything lit up, darkened, changed, even the wine in our cut glasses sparkled with a mysterious shine.
7) The wind fell, as if folded its wings, and froze; night, fragrant warmth wafted from the earth.
Read other pictures of nature. What did the writer depict?
What figurative and expressive means does Turgenev use to describe nature?
What can be said about the use of homogeneous members in the description?
Working with the table “Functions of landscape in a literary work.”
Functions of landscape in a literary work.
1) contributes to the creation of the image of the lyrical hero;
2) serves as one of the means of creating local color;
3) acts as a background associated with the place and time of action;
4) is a form of psychological characterization, emphasizing or highlighting the mental state of the characters;
5) is the source of the writer’s philosophical reasoning;
6) is a prism and way of seeing the world when the boundaries between the natural and human world are blurred;
7) serves as a means of characterizing social living conditions;
8) can acquire symbolic meaning.
Which of these functions does the landscape perform in the story “Asya”?
Assignment for test work.
Students receive cards with a task in the Russian language:
- insert missing ones punctuation marks,
- emphasize the stems of sentences and homogeneous members of the sentence.
- make sentence outlines.
Examples of sentences from the text for the test:
1. I slept badly and the next morning I got up early, tied my traveling kitty bag behind my back and, telling my mistress that she should not wait for me by nightfall, set off on foot to the mountains, upstream the river on which the town 3 lies.
2. I passed by a bush where a nightingale was singing, I stopped and listened for a long time: it seemed to me that he was singing my love and my happiness.
3. However, I tried not to think about them; wandered leisurely through the mountains and valleys, sat in village taverns peacefully talking with owners and guests, or lay down on a warm flat stone and watched the clouds float, fortunately the weather was amazing.
4. The whisper of the wind in my ears, the quiet murmur of water behind the stern irritated me, and the fresh breath of the wave did not cool me; the nightingale sang on the shore and infected me with the sweet poison of its sounds.
5. One evening I was sitting on my favorite bench and looking at the river, the sky, or the vineyards.
6. Gagin reached a valley that was already familiar to me, sat down on a stone and began to sketch an old hollow oak...
7. Nature had a tremendous effect on me, but I didn’t like its so-called beauties, extraordinary mountains, cliffs, waterfalls...
The boat has moored. I went out and looked around. No one was visible on the opposite bank. The moon pillar again stretched like a golden bridge across the entire river. As if to say goodbye, the sounds of the old Lanner waltz rushed by. Gagin was right: I felt that all the strings of my heart trembled in response to those ingratiating melodies. I went home through the darkened fields, slowly inhaling the fragrant air, and came to my little room, all softened by the sweet languor of pointless and endless expectations. I felt happy... But why was I happy? I didn't want anything, I didn't think about anything...
I was happy.
Almost laughing from the excess of pleasant and playful feelings, I dived into bed and was about to close my eyes, when suddenly it occurred to me that during the evening I had not once remembered my cruel beauty... “What does this mean? - I asked myself. “Am I not in love?” But having asked myself this question, I seemed to immediately fall asleep, like a child in a cradle.
Questions:
How does chapter 2 end?
What feelings does the hero experience?
How does a description of nature help convey the hero’s state?
What functions does the landscape perform in the story “Asya”?
Results. What is the significance of landscape in a literary work? What is unique about Turgenev’s landscape? (The originality of Turgenev’s landscape paintings lies in the special lyricism and sincerity characteristic of his writing style.)
(materials for a literature lesson in high school)
Tale by I.S. Turgenev’s “Asya” is dedicated to love. Love reveals a person most fully. And the description of nature helps to show the inner state of a person.
Descriptions of nature are very important in the story. great place. They not only attune the reader to subtle empathy, but also accompany every mood, every movement of the soul of his heroes.
The story takes place in Germany, on the majestic and beautiful Rhine River. This is no coincidence. The author specifically placed the characters in this place to create a romantic atmosphere.
In the first chapter we meet the hero of the story NN, suffering from some “insidious widow.” But his suffering is so insincere, so unnatural, that even the hero himself notices it.
“To be honest, the wound in my heart was not very deep...”
On the contrary, the description of the evening town is filled with sincerity and liveliness, which is contrasted with the hero’s false love.
“I loved wandering around the city then; the moon seemed to be looking intently at him from the clear sky; and the city felt this gaze and stood sensitively and peacefully..."
In the second chapter, NN meets Asya. Asya's description is adjacent to the description of the wonderful landscape of the Rhine. This seems to confirm everything that was said about Asa.
“The view was absolutely wonderful. The Rhine lay before us all silver, between green banks; in one place it burned with the crimson gold of sunset.”
NN’s conversation with Asya and Gagin, which lasted the whole evening, is also accompanied by a romantic landscape of the evening, first early, then gradually turning into night.
“The day had long gone out, and the evening, at first all fiery, then clear and scarlet, then pale and vague, quietly melted and turned into night.”
“I have never seen a more agile creature. She didn't sit still for a single moment."
Turgenev says that Asya’s changeable character is very close to nature.
Descriptions of mountains, valleys, powerful river flows help the author to show the strength, unbridled love heroines.
By the fifth chapter, the hero fell in love with Asya. From that moment on, all his attention switches to Asya, and he no longer notices nature. Therefore, there are no descriptions of nature, even when NN accompanies Gagin to sketch landscapes.
Only by the tenth chapter, when the hero breaks up with Asya, does a description of nature appear again. The hero sails along the “royal” Rhine, but there is no peace in his soul.
“I suddenly felt a secret uneasiness in my heart... I raised my eyes to the sky - but there was no peace in the sky either...”
This comparison foreshadows the sad end of the story.
The role of the landscape in the story is to help us better understand the strength of the characters’ feelings and the state of their souls. So that we understand how complex and incomprehensible people’s feelings are, and we must learn to understand them in order to become happy.
Tale by I.S. Turgenev’s “Asya” is dedicated to love. Love reveals a person most fully. And the description of nature helps to show the inner state of a person.
Descriptions of nature occupy a very large place in the story. They not only attune the reader to subtle empathy, but also accompany every mood, every movement of the soul of his heroes.
The story takes place in Germany, on the majestic and beautiful Rhine River. This is no coincidence. The author specifically placed the characters in this place to create a romantic atmosphere.
In the first chapter we meet the hero of the story NN, suffering from some “insidious widow.” But his suffering is so insincere, so unnatural, that even the hero himself notices it.
“To be honest, the wound in my heart was not very deep...”
On the contrary, the description of the evening town is filled with sincerity and liveliness, which is contrasted with the hero’s false love.
“I loved wandering around the city then; the moon seemed to be looking intently at him from the clear sky; and the city felt this gaze and stood sensitively and peacefully..."
In the second chapter, NN meets Asya. Asya's description is adjacent to the description of the wonderful landscape of the Rhine. This seems to confirm everything that was said about Asa.
“The view was absolutely wonderful. The Rhine lay before us all silver, between green banks; in one place it burned with the crimson gold of sunset.”
NN’s conversation with Asya and Gagin, which lasted the whole evening, is also accompanied by a romantic landscape of the evening, first early, then gradually turning into night.
“The day had long gone out, and the evening, at first all fiery, then clear and scarlet, then pale and vague, quietly melted and turned into night.”
“I have never seen a more agile creature. She didn't sit still for a single moment."
Turgenev says that Asya’s changeable character is very close to nature.
Descriptions of mountains, valleys, and powerful river flows help the author show the heroine’s strong, unbridled love.
By the fifth chapter, the hero fell in love with Asya. From that moment on, all his attention switches to Asya, and he no longer notices nature. Therefore, there are no descriptions of nature, even when NN accompanies Gagin to sketch landscapes.
Only by the tenth chapter, when the hero breaks up with Asya, does a description of nature appear again. The hero sails along the “royal” Rhine, but there is no peace in his soul.
“I suddenly felt a secret uneasiness in my heart... I raised my eyes to the sky - but there was no peace in the sky either...”
This comparison foreshadows the sad end of the story.
The role of the landscape in the story is to help us better understand the strength of the characters’ feelings and the state of their souls. So that we understand how complex and incomprehensible people’s feelings are, and we must learn to understand them in order to become happy.
First of all, it is worth noting that I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of spiritual states loving person The author is also helped by the landscape, which in the story becomes the “landscape of the soul.”
So, here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. ABOUT young man, who loves walks, especially at night and in the evening, peering into the clear sky with a motionless moon shedding a serene and exciting light, observing the slightest changes in the world around us, we can say that this is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked. The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around.
“You drove into the moon pillar, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight.
Continuing acquaintance with the Gagins sharpened the narrator's feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. A jealous suspicion that the Gagins are not brother and sister forces the hero to seek solace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, to the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simple contentment, with ubiquitous traces of applied hands, patient, although unhurried work...” But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance.” This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It is at this moment that merging with nature takes place in the hero’s inner world. new turn: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, the sudden departure of brother and sister. For that a short time the hero begins to see clearly, a reciprocal feeling flares up, but it is too late, when nothing can be corrected.
In my opinion, having lived for many years as a familyless man, the narrator keeps as a shrine the girl’s notes and the dried geranium flower that she once threw to him from the window.
Asya’s feeling for Mr. N.N. is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of mountains and powerful river flows symbolize the free development of the heroine’s feelings.
Undoubtedly, only this “insignificant grass” and its slight smell remained for the hero from that beautiful, integral world of nature and the world of Asya’s soul, merged together into the brightest, important days the life of Mr. N.N., who lost his happiness.
Reference material for schoolchildren:
Turgenev Ivan Sergeevich is a famous Russian writer, poet and translator. Included in the galaxy best writers"Golden Age" of Russian Literature.
Years of life: 1818-1883.
Noble Nest
The day before
Fathers and Sons
Mu Mu
Inn
Notes of a Hunter (collection of stories)
Faust
Calm
Trip to Polesie
Asya
First love
Bachelor.
## Satirical image in fact, in “The History of a City” by M. E. Saltykov‑Shchedrin - chapter “On the root of the origin of the Foolovites” ##
First of all, it is worth noting that “The History of a City” is the greatest satirical novel. This is a merciless denunciation of the entire management system Tsarist Russia. Completed in 1870, “The History of a City” shows that the people in post-reform times remained as powerless as the officials - tyrants of the 70s. differed from pre-reform ones only in that they robbed using more modern, capitalist methods.
It is worth noting that the city of Foolov is the personification of autocratic Russia, the Russian people. Its rulers embody specific features of historically reliable, living rulers, but these features are taken to their “logical conclusion” and are exaggerated. All the residents of Foolov - both the mayors and the people - live in some kind of nightmare, where the appearance of a ruler with an organ instead of a head, cruel tin soldiers instead of the living, an idiot who dreams of destroying everything on earth, a blockhead who went “eight miles to catch a mosquito,” etc. These images are constructed in the same way as the images of popular fantasy, but they are more terrible because they are more real. The monsters of Foolov's world are generated by this same world, nurtured by its rotten soil. Therefore, the satirist in “The History of a City” does not limit himself to ridiculing the rulers of the city; he also laughs bitterly at the slavish patience of the people.
It is obvious that the chapter “On the Roots of the Origin of the Foolovites,” according to the writer’s plan, was supposed to show the tradition of the emergence of the mayors’ favorite pastime - cutting and collecting arrears.
Initially, the Foolovites were called bunglers because “they had the habit of banging their heads on everything that came along the way. They come across a wall ─ they hit the wall; They’ll start praying to God and then they’ll scratch on the floor.” This “grabbing” already speaks enough about the spiritual, innate qualities of bunglers, which developed in them independently of the princes. With a bitter laugh, M.E. Saltykov-Shchedrin writes that “having gathered together the Kurales, the Guscheeders and other tribes, the bunglers began to settle inside, with the obvious goal of achieving some kind of order.” “It started with kneading Kolga with tolas, then dragging the jelemka to the bathhouse, then boiling the kosh in the purse” and doing other senseless things, because of which even the two stupid princes who were found did not want to “deal with” the bunglers, calling them Foolovites. But the people could not get comfortable on their own. We definitely needed a prince, “who will make soldiers for us and build a fort as it should be!” Here the “historical people” are subjected to satirical ridicule, “carrying on their shoulders the Wartkins, Burcheevs, etc.,” with whom the writer, as he himself admitted, could not sympathize.
The bunglers voluntarily surrendered to bondage, “sighed unabated, cried out loudly,” but “the drama was already completed irrevocably.” And the oppression and theft of the Foolovites began, leading them to riots that were beneficial to the rulers. And “historical times” for Foolov began with a cry: “I’ll screw it up!” But despite the sharply critical attitude towards popular passivity, humility and patience, the author in “The History of a City” in other chapters paints the appearance of the people with soulful colors, this is especially clearly manifested in scenes of popular disasters.
It is worth noting that in his work the author does not limit himself to showing pictures of the arbitrariness of the rulers and the long-suffering of the people, he also reveals the process of growing anger of the oppressed, convincing readers that this cannot continue: either Russia will cease to exist, or a turning point will occur that will sweep away the faces of the Russian land existing political system.
Reference material for schoolchildren:
Saltykov-Shchedrin Mikhail Evgrafovich - outstanding Russian writer
Years of life: 1826-1889.
The most famous works and works:
Messrs. Golovlevs
The story of one city
Poshekhonskaya antiquity
Monrepos Asylum
Anniversary
kind soul
Spoiled Children
Neighbours
Chizhikovo Mountain
This story is the “true” chronicle of the city of Foolov, “The Foolov Chronicler,” covering the period of time from 1731 to 1825, which was “successively composed” by four Foolov archivists. In the chapter “From the Publisher,” the author especially insists on the authenticity of the “Chronicle” and invites the reader to “catch the face of the city and follow how its history reflected the various changes that were simultaneously taking place in the highest spheres.”
The Chronicler opens with an “Address to the Reader from the Last Chronicler Archivist.” The archivist sees the chronicler’s task as “to be a depicter” of “touching correspondence” - the authorities, “to the extent daring,” and the people, “to the extent of giving thanks.” History, therefore, is the history of the reigns of various mayors.
At the beginning there is a prehistoric chapter “On the roots of the origin of the Foolovites,” which tells how ancient people the bunglers defeated the neighboring tribes of walrus-eaters, bow-eaters, scythe-bellies, etc. But, not knowing what to do to ensure order, the bunglers went to look for a prince. They turned to more than one prince, but even the stupidest princes did not want to “deal with fools” and, having taught them with a rod, released them with honor. Then the bunglers called a thief-innovator, who helped them find the prince. The prince agreed to “lead” them, but did not go to live with them, sending a thief-innovator in his place. The prince called the bunglers themselves “Fools,” hence the name of the city.
The Foolovites were a submissive people, but the novotor needed riots to pacify them. But soon he stole so much that the prince “sent a noose to the unfaithful slave.” But the novotor “and then dodged: […] without waiting for the noose, he stabbed himself to death with a cucumber.”
The prince also sent other rulers - an Odoevite, an Orlovets, a Kalyazinian - but they all turned out to be real thieves. Then the prince “... arrived in person in Foolov and cried out: “I’ll lock it up!” With these words, historical times began."
Next comes the “Inventory for mayors in different time appointed to the city of Foolov by the highest authorities,” after which the biographies of “the most remarkable mayors” are given in detail.
Book table of contents open close
Content
The story in N. M. Karamzin’s story “Natalia, the Boyar’s Daughter”
Images of animals in the fables of I. A. Krylov
The history of the Russian state in the fables of I. A. Krylov (theme of the Patriotic War of 1812)
“The history of the Pugachev rebellion” and a fictional narrative in A. S. Pushkin’s novel “The Captain’s Daughter”
Masha Mironova is the embodiment of the Russian national character
Masha Mironova in the novel by A. S. Pushkin “The Captain's Daughter”
Emelyan Pugachev - historical hero of the novel by A. S. Pushkin “The Captain's Daughter”
Popular uprising in A. S. Pushkin’s novel “The Captain's Daughter”
Three days in freedom (based on M. Yu. Lermontov’s poem “Mtsyri”)
Where is Mtsyri running from and what is he striving for?
Why did Mtsyri's escape fail?
Pictures of nature in M. Yu. Lermontov’s poem “Mtsyri” and their meaning
Features of the composition in N. V. Gogol’s comedy “The Inspector General”
The life of a district town in N. V. Gogol’s comedy “The Inspector General”
Images of officials in N. V. Gogol’s comedy “The Inspector General”
Khlestakov is the main character of N. V. Gogol’s comedy “The Inspector General”
Khlestakov and Khlestakovism in N. V. Gogol’s comedy “The Inspector General”
Analysis of the scene of lying in N. V. Gogol’s comedy “The Inspector General” (act III, scene VI)
Analysis of the scene of giving a bribe in N. V. Gogol’s comedy “The Inspector General” (act IV, scenes III–IV)
The meaning of the silent scene in N. V. Gogol’s comedy “The Inspector General”
“Laughter is a noble face” in N. V. Gogol’s comedy “The Inspector General”
The hero of I. S. Turgenev’s story “Asya”. How his attitude towards life changed
“Russian man at rendez vous” (The hero of I. S. Turgenev’s story “Asya” in the assessment of N. G. Chernyshevsky)
Asya - one of Turgenev’s girls (based on the story “Asya” by I. S. Turgenev)
Pictures of nature in I. S. Turgenev’s story “Asya”
Who is to blame for the heroine’s suffering? Based on the story “The Old Genius” by N. S. Leskov
Russian reality in N. S. Leskov’s story “The Old Genius”
Moral categories in L. N. Tolstoy’s story “After the Ball”
Why didn’t Ivan Vasilyevich serve anywhere? Based on the story by L. N. Tolstoy “After the Ball”
Autumn in the lyrics of Russian poets based on the poems by M. Yu. Lermontov “Autumn” and F. I. Tyutchev “Autumn Evening”
Spring in the lyrics of Russian poets based on the poems by A. A. Fet “The First Lily of the Valley” and A. N. Maykov “The Field Ripples with Flowers”
The inner world of the hero in A. P. Chekhov’s story “About Love”
The problem of the positive hero in M. Gorky’s story “Chelkash”
Landscape in M. Gorky's story "Chelkash"
Chelkash and Gavrila based on the story “Chelkash” by M. Gorky
“The past looks passionately into the future.” The historical past of Russia in the cycle of poems “On the Kulikovsky Field” by A. A. Blok
Poem by A. A. Blok “Russia”
Pugachev - the hero of the poem by S. A. Yesenin
Hero and uprising in the assessment of A. S. Pushkin and S. A. Yesenin
The thing in M. A. Osorgin’s story “Pince-nez”
How did Grinev accept his father’s behest? (based on the novel by A. S. Pushkin “The Captain’s Daughter”). 1st option
And literature MAOU Lyceum No. 8 of Tomsk
The Swiss philosopher Henri Aligel, not without reason, believed that landscape in art represents, first of all, the state of the artist’s soul. There are works, sometimes not even the most ambitious in the heritage of this or that classic, in which, however, many ideological and creative features the writer, his favorite thoughts are heard, his perception of the circumstances and the heroes in them.
I. S. Turgenev was convinced that man is connected with nature “by a thousand inextricable threads: he is her son.” He would later say about this in a review of S. T. Aksakov’s “Notes of a Gun Hunter,” but this conviction arose at the very beginning of his poetic activity - he associated familiarity with the life of nature with the desire to peace of mind. The writer advocated for “real, warm and living descriptions”, in which the smallest shades of the landscape would be subordinate to the general tone of the image, therefore Turgenev is attracted by balanced, peaceful, meek nature, and not by its spontaneous, chaotic manifestations, but how much hidden drama his landscape sketches contain - a means of revealing the character's character. The story “Asya” has become a work in which “the story of the human soul,” a love story, is given through the prism of landscape. Being part of the plot structure, the landscape plays here important role and in the description of the circumstances occurring in the story, in addition, as in poetry, it helps to understand the inner world of Asya and Mr. N.N., performs the function of psychological parallelism, and it is through the description of the landscape that Turgenev will convey the spiritual and emotional condition main characters.
If for F. M. Dostoevsky the landscape is the background against which events unfold, additional remedy for a more expressive image characters, then for Turgenev this, along with Asya and Mr. N.N., is one of the heroes of the story, another “I” of the author, helping to understand and characterize the inner world, the development of the soul, the character of the character. The writer rightly noted: “... everywhere you see the author instead of nature; and a person is only strong when he relies on it.” This remark of Turgenev, an artist, is fundamental: do not replace nature with yourself, do not liken it to yourself, but rely on it in the search and acquisition of creative powers.
In “Ace” this kind of view of nature is formed, which would be “in accordance with its true meaning“, and for this you need to “separate yourself from yourself and think about the phenomena of nature.” Of course, “live observation of nature” - the hardest way comprehension of its laws and the only possible words for an artist.
At the beginning of the story, Mr. N.N. separates the world of nature from the world of people, for him the diversity of faces is much clearer: “... living faces, human faces- people’s speech, their movements, laughter - that’s what I couldn’t do without,” but nature is incomprehensible to him, and he cannot respond to its beauty or mystery, cannot be harmonious with it. It is also noteworthy that the hero does not perceive the surrounding beauty of nature as a single whole, he does not see himself in it - this is an eloquent characteristic of the inner content of Mr. N.N., he is clearly not a romantic; rather, the pragmatic and rational are closer to him.
Despite the modesty and unpretentiousness of the Rhineland landscape, it is majestic and mysterious precisely in its simplicity, although in Turgenev’s interpretation of nature there are many echoes of the people’s understanding of its elemental forces, in which there is “nothing clever or sophisticated.” So far, only the moon alone illuminates both the city and Mr. N.N. It is its light in the night sky that is reflected in the calm waters of the Rhine. Not being part natural world, main character, however, loves to look at great river, and in the future - all the vicissitudes of his fate and love will be reflected in the water surface. It is no coincidence that the mention of a paper boat that local children launch on a long voyage is mentioned. This is a symbol of the love of Mr. N.N. and Asya, about which nothing has been said yet, but the premonition of something huge and real is already hovering very close.
The young storyteller's next morning, where the sea rules sunlight, a noisy merchant in the garden and on the streets of the town, filled with the cheerful noise of people, “the innocent flirtation of youth” - all this prepares the appearance of the one whose name the story is named.
Anna - Asya - “blessed”, “gift of God”, “born again” - the meaning of the names is not accidental. In the future, the author will call the always pretty and graceful Anna Asya, perhaps her new birth will soon, but which one: happy or... The meaning of titles and names in Turgenev is always significant. Mr. N.N., who does not like Russians abroad, meets and becomes close with Russians: “We live outside the city,” Gagin continued, “in a vineyard, in a lonely house, high up. It’s great here, look.” The leitmotif of the vineyard, which first appears in this context, and then the narrow steep path accompanying it - the personification of remoteness from everyone, loneliness, life trials main character, which will soon affect Mr. N.N. Subsequently, this leitmotif will become the main one and will run through the entire narrative.
The picturesque contrast of “scarlet thin light on a green vine” visibly highlights the still “cold” heart of the young narrator and the violent, lively, spontaneous in her wildness Asya, who received the external attributes of a noblewoman (a silk dress, living in a manor’s house, ostentatious respect from servants). However, if we talk about the psychology of the development of her soul, then the girl was not deprived here. World natural forces and her feelings and emotions will always be in close contact. Seeking, open to everything sincere, Asya will find a response in the entire world around her: “The Rhine lay before us all silver, between the green banks; in one place it glowed with the crimson gold of sunset. (...) It was good below, but even better above: I was especially struck by the purity and depth of the sky, the radiant transparency of the air. Fresh and light, it rolled in waves...” Mr. N.N. seems to be rediscovering everything around him, but “transparency,” radiance, purity and depth are already in Asa, in her future feeling, and the rolling waves are mobility and the variability of the restless heroine, these are those character traits natures that at first will be a mystery to the young storyteller, and the solution will be very simple.
Once again the light of the moon, illuminating the Rhine, and the young people, and life path, which will not be easy for both, a light that is prophetic in Asya’s fate: “I jumped into the boat and said goodbye to my new friends. Gagin promised to visit me the next day; I shook his hand and extended mine to Asya; but she just looked at me and shook her head. The boat set sail and rushed along the fast river. The carrier, a cheerful old man, tensely plunged his oars into the dark water.
You drove into the moon pillar, you broke it! – Asya shouted to me.”
This interesting and well-known metaphor speaks of a future tragedy, about broken life and love, is the beginning of that “golden bridge across the entire river”, which will open the soul and heart of Mr. N.N. to “fragrant air”, “freshness of dew”, “songs of larks”, to everything that he had not noticed before. The hero's crossing of the river is a warning from an author endowed with rich life experience, Mr. N.N. himself, due to his age, still does not understand everything. Nature, living in unison with Asya, will now smoothly invade the life of the young storyteller; moreover, their commonality will be realized at the author’s level, in that layer of narration that equally belongs to both the storyteller and the author.
Wild apple tree, nettle, acacia - this is the world surrounding Asya, understandable to her, of which she is a part; The symbol of love is also indicative - a branch of geranium thrown from the window, as if taking us back to knightly times; a bright, juicy power of feeling that will literally dry up over time, but will remain a bitter reminder of that love that occurs “once in a thousand years.” The author's view turns out to be much deeper; the hero-storyteller will come to understand the metaphorical side of events only towards the end of the story. It was this love that stirred the soul of Mr. N.N., and he suddenly felt the “steppe smell of his homeland”, saw a “hemp bed” - and immediately a storm of emotions and thoughts arose in this hitherto very balanced person: “Its steppe smell instantly reminded me of my homeland and aroused in my soul passionate longing on her. I wanted to breathe Russian air, walk on Russian soil.” And immediately a rhetorical question arises: “What am I doing here, why am I wandering around in a strange place, among strangers?” - the answer to it is clear to us thanks to Asya, in addition, this is the starting point of his love for the heroine. But these are the thoughts of I. S. Turgenev himself. The time of creation of the story is 1857, the reform of 1861 is being prepared, a time of difficult disputes, opinions, and anxieties. The writer cannot stand aside and introduces into the story the biography of Asya, the daughter of a serf, and all this against the backdrop of a magnificent river, air saturated moonlight, sounds of waltz, love. The story is filled psychological details, which are accurate and brief in form, but contain in-depth characteristics of the heroes, and therefore for the author there is the possibility of such a narrative about them, which N. G. Chernyshevsky will call “secret psychology”, it is also noteworthy that best landscapes the stories are connected with the emotional experiences and movements of the characters, filled with their inner life: “The mood of my thoughts just matched the calm nature of that region” or “In the distance a steamboat was running along the Rhine. We started looking at him. (...) “Go somewhere far away, to pray, to perform a difficult feat,” she continued. “And then the days go by, life goes away, and what have we done?” We will see the continuation of these thoughts in I. A. Bunin in “Clean Monday”.
The tenth chapter is a kind of Rubicon for the young narrator, he is open to love, he desires its appearance, and this feeling of “all-encompassing desires” is again emphasized by the calm waters of the Rhine, starry sky, “whisper of the wind,” and the hero watches the river, and is already floating in a boat downstream, sailing towards something long-awaited and, probably, tragic: “... anxiety grew within me.”
The connection between the laws of balance in nature and the laws of balance in a work is amazing. Just as nature has its twists, kinks, surprises, its “suddenly”, so they also exist in the story: the crossing of the Rhine, and the first and last love date ended traditionally - Mr. N.N. considered marrying a seventeen-year-old girl, “with her disposition”, stupidity, and “getting married at such a time” (meaning late evening) is a direct violation of secular conventions; "We have to wait until the next day." But the next day did not become the day of happiness that the nightingale seemed to be singing about the day before. Now the loving Mr. N.N. lost his love forever, having opened simple truth: “Happiness has no tomorrow; he has no yesterday; it does not remember the past, does not think about the future; he has a present - and that’s not a day, but a moment.”
Immediately after its publication, the story became the center of attention of critics. N. G. Chernyshevsky ranked N. N. among the “ unnecessary people”, accusing him of moral and social failure, P. A. Annenkov, on the contrary, saw in such a “weak person” the bearer of the foundations of morality and humanity. However, both critics noticed in Turgenev’s hero some human incompleteness, weakness, lack of will, which did not allow him to retain love and become happy.
The undertaken analysis of the story, considering the role of the landscape in revealing the character of the hero, allows us to deeply understand the structure, and through it the meaning of the work. Is our modern attitude to nature complemented by experience complex thoughts and the creative achievements of I. S. Turgenev, one of the first to penetrate the dialectics of tragedy and harmony of relationships between man and nature.
Literature:
Turgenev I. S. “Asya”, Moscow, “Children’s Literature” 1980. Kuprin A. I. “ Garnet bracelet", Novosibirsk, "West Siberian Book Publishing House", 1985. Chernyshevsky N. G. "Russian man at rendez-vouz. Reflections on reading Turgenev's story "Asya". "Athenaeus" 1858.
Annenkov P.V. “About literary type weak person(About Mr. Turgenev’s story “Asya.” “Atheneum” 1858.