Professor knows. Image of "cruel morals" of the "dark kingdom" ("Thunderstorm") Homework for the lesson
Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change.
The great merit of Ostrovsky is that he opened the world of merchants to the enlightened public, oh Everyday life which Russian society had a superficial concept. Merchants in Russia provided trade in goods and food, they were seen in shops, considered uneducated and uninteresting. Ostrovsky showed that behind the high fences of merchant houses, in the souls and hearts of people from the merchant class, almost Shakespearean passions are played out. He was called the Columbus of Zamoskvorechye.
Ostrovsky's ability to assert progressive tendencies in Russian society was fully revealed in the play The Thunderstorm, published in 1860. The play reflects the irreconcilable contradictions between the individual and society. The playwright raises an acute question in the 1860s about the position of women in Russian society.
The action of the play takes place in the small Volga town of Kalinov, where the merchant population mainly lives. In his famous article “A Ray of Light in a Dark Kingdom,” the critic Dobrolyubov characterizes the life of merchants in this way: “Their life flows smoothly and peacefully, no interests of the world disturb them, because they do not reach them; kingdoms can collapse, new countries open up, the face of the earth ... change - the inhabitants of the town of Kalinov will continue to exist in complete ignorance of the rest of the world ... The concepts and way of life they have adopted are the best in the world, everything new comes from evil spirits ... Dark mass, terrible in its naivety and sincerity.
Ostrovsky, against the backdrop of a beautiful landscape, draws the bleak life of the townsfolk of Kalinov. Kuligin, who in the play opposes the ignorance and arbitrariness of the "dark kingdom", says: "Cruel morals, sir, in our city, cruel!"
The term "tyranny" came into use along with Ostrovsky's plays. The playwright called petty tyrants "the masters of life", the rich, whom no one dared to argue with. This is how Savel Prokofievich Dikoy is depicted in the play "Thunderstorm". It was not by chance that Ostrovsky awarded him a "speaking" surname. Wild is famous for its wealth, acquired by deceit and exploitation of other people's labor. No law was written to him. With his absurd, rude disposition, he inspires fear in others, this is a "cruel scolder", "a piercing man." His wife is forced every morning to persuade others: “Fathers, do not make me angry! Doves, don't get angry! Impunity has corrupted the Wild, he can shout, insult a person, but this applies only to those who do not rebuff him. Half the city belongs to Wild, but he does not pay those who work for him. He explains to the mayor this way: “What is so special about it, I won’t give them a penny a penny, and I have a fortune.” Pathological greed overshadows his mind.
Progressive man Kuligin turns to Wild with a request to give money to install a sundial in the city. In response, he hears: “Why are you climbing to me with all sorts of nonsense!
Maybe I don't want to talk to you. You should have known first whether I was disposed to listen to you, fool, or not. So right with the snout and climb to talk. Wild is completely unbridled in his tyranny, he is sure that any court will be on his side: “For others, you are an honest person, but I think that you are a robber, that’s all ... What are you going to sue, or something, with me? .. So know that you are a worm, if you want, I will crush you.”
Another bright representative of the mores of the "dark kingdom" is Marfa Ignatievna Kabanova. Kuligin speaks of her like this: “A hypocrite. She clothes the poor, but eats the household completely. Kabanova single-handedly rules the house and her family, she is accustomed to unquestioning obedience. In her face, Ostrovsky shows an ardent defender of the wild orders of house building in families and in life. She is sure that only fear holds the family together, she does not understand what respect, understanding, good relations between people are. The boar suspects everyone of sins, constantly complains about the lack of proper respect for the elders on the part of the younger generation. “They don’t really respect elders these days…,” she says. The boar always becomes shy, pretends to be a victim: “Mother is old, stupid; well, you, young people, smart, should not exact from us, from fools.
Kabanova "feels with her heart" that the old order is coming to an end, she is anxious and scared. She turned her own son into a dumb slave who has no power in his own family, acts only at the behest of his mother. Tikhon happily leaves home, only to take a break from scandals and the oppressive atmosphere of his home.
Dobrolyubov writes: “The tyrants of Russian life, however, begin to feel some kind of discontent and fear, themselves not knowing what and why ... In addition to them, without asking them, another life grew up, with other principles, and although it is far away, it is still is not well seen, but already gives itself a presentiment and sends bad visions to the dark arbitrariness of petty tyrants.
Showing the life of the Russian provinces, Ostrovsky paints a picture of extreme backwardness, ignorance, rudeness and cruelty that kill all life around. The life of people depends on the arbitrariness of the Wild and Boars, who are hostile to any manifestations of free thought, self-esteem in a person. Having shown from the stage the life of the merchants in all its manifestations, Ostrovsky pronounced a harsh sentence on despotism and spiritual slavery.
Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change.
The great merit of Ostrovsky is that he opened to the enlightened public the world of merchants, about whose daily life Russian society had a superficial understanding. Merchants in Russia provided trade in goods and food, they were seen in shops, considered uneducated and uninteresting. Ostrovsky showed that behind the high fences of merchant houses, in the souls and hearts of people from the merchant class, almost Shakespearean passions are played out. He was called the Columbus of Zamoskvorechye.
Ostrovsky's ability to assert progressive tendencies in Russian society was fully revealed in the play The Thunderstorm, published in 1860. The play reflects the irreconcilable contradictions between the individual and society. The playwright raises an acute question in the 1860s about the position of women in Russian society.
The action of the play takes place in the small Volga town of Kalinov, where the merchant population mainly lives. In his famous article “A Ray of Light in a Dark Kingdom”, the critic Dobrolyubov characterizes the life of merchants in this way: “Their life flows smoothly and peacefully, no interests of the world disturb them, because they do not reach them; kingdoms can collapse, new countries open up, the face of the earth ... change - the inhabitants of the town of Kalinov will continue to exist in complete ignorance of the rest of the world ... The concepts and way of life they have adopted are the best in the world, everything new comes from evil spirits ... Dark mass, terrible in its naivety and sincerity.”
Ostrovsky, against the backdrop of a beautiful landscape, draws the bleak life of the townsfolk of Kalinov. Kuligin, who in the play opposes the ignorance and arbitrariness of the "dark kingdom", says: "Cruel morals, sir, in our city, cruel!"
The term "tyranny" came into use along with Ostrovsky's plays. The playwright called petty tyrants "the masters of life", the rich, whom no one dared to argue with. This is how Savel Prokofievich Dikoy is depicted in the play “Thunderstorm”. It was not by chance that Ostrovsky awarded him a “speaking” surname. Wild is famous for its wealth, acquired by deceit and exploitation of other people's labor. No law was written to him. With his absurd, rude disposition, he inspires fear in others, this is a “cruel scolder”, “a piercing man”. His wife is forced every morning to persuade others: “Fathers, do not make me angry! Darlings, don't get angry!" Impunity has corrupted the Wild, he can shout, insult a person, but this applies only to those who do not rebuff him. Half the city belongs to Wild, but he does not pay those who work for him. He explains to the mayor this way: “What is so special about it, I won’t give them a penny a penny, but I have a fortune.” Pathological greed overshadows his mind. Progressive man Kuligin turns to Wild with a request to give money to install a sundial in the city. In response, he hears: “Why are you climbing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was disposed to listen to you, fool, or not. So right with the snout and climb to talk. Wild is completely unbridled in his tyranny, he is sure that any court will be on his side: “For others, you are an honest person, but I think that you are a robber, that’s all ... What are you going to sue, or something, with me? .. So know that you are a worm, if you want, I will crush you.”
Another bright representative of the mores of the “dark kingdom” is Marfa Ignatievna Kabanova. About her Kuligin speaks like this: “Honzha. She feeds the poor, but eats the household completely.” Kabanova single-handedly rules the house and her family, she is accustomed to unquestioning obedience. In her face, Ostrovsky shows an ardent defender of the wild orders of house building in families and in life. She is sure that only fear holds the family together, she does not understand what respect, understanding, good relations between people are. The boar suspects everyone of sins, constantly complains about the lack of due respect for the elders on the part of the younger generation. “They don’t really respect elders these days…,” she says. The boar always becomes shy, pretends to be a victim: “Mother is old, stupid; well, you, young people, smart, should not exact from us, from fools.
Kabanova “feels with her heart” that the old order is coming to an end, she is anxious and scared. She turned her own son into a dumb slave who has no power in his own family, acts only at the behest of his mother. Tikhon happily leaves home, only to take a break from scandals and the oppressive atmosphere of his home.
Dobrolyubov writes: “The tyrants of Russian life, however, begin to feel some kind of discontent and fear, themselves not knowing what and why ... In addition to them, without asking them, another life grew up, with other principles, and although it is far away, it still is not clearly visible, but already gives itself a presentiment and sends bad visions to the dark arbitrariness of petty tyrants.
Showing the life of the Russian provinces, Ostrovsky paints a picture of extreme backwardness, ignorance, rudeness and cruelty that kill all life around. The life of people depends on the arbitrariness of the Wild and Boars, who are hostile to any manifestations of free thought, self-esteem in a person. Having shown from the stage the life of the merchants in all its manifestations, Ostrovsky pronounced a harsh sentence on despotism and spiritual slavery.
An essay on literature on the topic: The image of “cruel morals” of the “dark kingdom” in the play “Thunderstorm” by A. N. Ostrovsky
Other writings:
- Reading the works of Ostrovsky, we involuntarily find ourselves in the atmosphere that prevails in this society, and become direct participants in the events that take place on the stage. We merge with the crowd and, as if from the outside, observe the life of the heroes. So, being in Read More ......
- The basis of the conflict in the play by A. N. Ostrovsky “Thunderstorm” is the opposition of the dark and ignorant merchant environment with a bright personality. As a result, the “dark kingdom” of the city of Kalinov wins, which, as the playwright shows, is very strong and has a huge influence. What is this “dark Read More ......
- A. N. Ostrovsky is considered an innovator of domestic drama. Perhaps he was the first to show the world of the “dark kingdom” in his works. In his essay “Notes of a Zamoskvoretsky Resident”, the writer, as it were, “discovered” a country “until now not known in detail and by none of the travelers Read More ......
- In Ostrovsky's drama "Thunderstorm" the problems of morality are widely posed. For example provincial town Kalinov, the playwright showed the truly cruel customs reigning there. Ostrovsky portrayed the cruelty of people living in the old fashioned way, according to Domostroy, and a new generation of young people who reject these foundations. Drama characters are divided into Read More ......
- In the atmosphere of the "dark kingdom", under the yoke of tyrannical power, living human feelings fade, wither away, the will weakens, the mind fades. If a person is endowed with energy, a thirst for life, then, applying himself to circumstances, he begins to lie, cunning, dodge. Under the pressure of this dark force, characters develop Read More ......
- In the work of A. N. Ostrovsky, the theme of “hot heart” occupies a very important place. Constantly exposing the "dark kingdom", the writer sought to establish high moral principles, tirelessly looking for forces that could resist despotism, predation, and the humiliation of human dignity that prevailed in society. In this quest Read More ......
- Ostrovsky's drama "Thunderstorm" is the most significant work of the famous playwright. It was written in 1860 during a period of social upsurge, when the foundations of serfdom were cracking, and a thunderstorm was gathering in the stuffy atmosphere of reality. Ostrovsky's play takes us to a merchant environment, where house-building orders Read More ......
- The play "Thunderstorm" became the pinnacle of creativity of the great Russian playwright A. N. Ostrovsky. The action of the tragedy described in the play takes place in the small town of Kalinovo, freely spread out on the banks of the Volga. The main characters live in a state of conflict, the old order is shaken, a protest is brewing in society. With Read More ......
Literature of the second half of the 19th century The image of the "cruel morals" of the "dark kingdom" in the play by A. N. Ostrovsky "Thunderstorm"
Alexander Nikolayevich Ostrovsky was endowed with a great talent as a playwright. He is deservedly considered the founder of the Russian national theater. His plays, varied in subject matter, glorified Russian literature. Creativity Ostrovsky had a democratic character. He created plays in which hatred for the autocratic-feudal regime was manifested. The writer called for the protection of the oppressed and humiliated citizens of Russia, longed for social change.
The great merit of Ostrovsky is that he opened to the enlightened public the world of merchants, about whose daily life Russian society had a superficial understanding. Merchants in Russia provided trade in goods and food, they were seen in shops, considered uneducated and uninteresting. Ostrovsky showed that behind the high fences of merchant houses, in the souls and hearts of people from the merchant class, almost Shakespearean passions are played out. He was called the Columbus of Zamoskvorechye.
Ostrovsky's ability to assert progressive tendencies in Russian society was fully revealed in the play The Thunderstorm, published in 1860. The play reflects the irreconcilable contradictions between the individual and society. The playwright raises an acute question in the 1860s about the position of women in Russian society.
The action of the play takes place in the small Volga town of Kalinov, where the merchant population mainly lives. In his famous article “A Ray of Light in a Dark Kingdom,” the critic Dobrolyubov characterizes the life of merchants in this way: “Their life flows smoothly and peacefully, no interests of the world disturb them, because they do not reach them; kingdoms can collapse, new countries open up, the face of the earth ... change - the inhabitants of the town of Kalinov will continue to exist in complete ignorance of the rest of the world ... The concepts and way of life they have adopted are the best in the world, everything new comes from evil spirits ... Dark mass, terrible in its naivety and sincerity.
Ostrovsky, against the backdrop of a beautiful landscape, draws the bleak life of the townsfolk of Kalinov. Kuligin, who in the play opposes the ignorance and arbitrariness of the "dark kingdom", says: "Cruel morals, sir, in our city, cruel!"
The term "tyranny" came into use along with Ostrovsky's plays. The playwright called petty tyrants "the masters of life", the rich, whom no one dared to argue with. This is how Savel Prokofievich Dikoy is depicted in the play "Thunderstorm". It was not by chance that Ostrovsky awarded him a "speaking" surname. Wild is famous for its wealth, acquired by deceit and exploitation of other people's labor. No law was written to him. With his absurd, rude disposition, he inspires fear in others, this is a "cruel scolder", "a piercing man." His wife is forced every morning to persuade others: “Fathers, do not make me angry! Doves, don't get angry! Impunity has corrupted the Wild, he can shout, insult a person, but this applies only to those who do not rebuff him. Half the city belongs to Wild, but he does not pay those who work for him. He explains to the mayor this way: “What is so special about it, I won’t give them a penny a penny, and I have a fortune.” Pathological greed overshadows his mind.
Progressive man Kuligin turns to Wild with a request to give money to install a sundial in the city. In response, he hears: “Why are you climbing to me with all sorts of nonsense!
Maybe I don't want to talk to you. You should have known first whether I was disposed to listen to you, fool, or not. So right with the snout and climb to talk. Wild is completely unbridled in his tyranny, he is sure that any court will be on his side: “For others, you are an honest person, but I think that you are a robber, that’s all ... What are you going to sue, or something, with me? .. So know that you are a worm, if you want, I will crush you.”
Another bright representative of the mores of the "dark kingdom" is Marfa Ignatievna Kabanova. Kuligin speaks of her like this: “A hypocrite. She clothes the poor, but eats the household completely. Kabanova single-handedly rules the house and her family, she is accustomed to unquestioning obedience. In her face, Ostrovsky shows an ardent defender of the wild orders of house building in families and in life. She is sure that only fear holds the family together, she does not understand what respect, understanding, good relations between people are. The boar suspects everyone of sins, constantly complains about the lack of due respect for the elders on the part of the younger generation. “They don’t really respect elders these days…,” she says. The boar always becomes shy, pretends to be a victim: “Mother is old, stupid; well, you, young people, smart, should not exact from us, from fools.
Kabanova "feels with her heart" that the old order is coming to an end, she is anxious and scared. She turned her own son into a dumb slave who has no power in his own family, acts only at the behest of his mother. Tikhon happily leaves home, only to take a break from scandals and the oppressive atmosphere of his home.
Dobrolyubov writes: “The tyrants of Russian life, however, begin to feel some kind of discontent and fear, themselves not knowing what and why ... In addition to them, without asking them, another life grew up, with other principles, and although it is far away, it is still is not well seen, but already gives itself a presentiment and sends bad visions to the dark arbitrariness of petty tyrants.
Showing the life of the Russian provinces, Ostrovsky paints a picture of extreme backwardness, ignorance, rudeness and cruelty that kill all life around. The life of people depends on the arbitrariness of the Wild and Boars, who are hostile to any manifestations of free thought, self-esteem in a person. Having shown from the stage the life of the merchants in all its manifestations, Ostrovsky pronounced a harsh sentence on despotism and spiritual slavery.
Folk-poetic and religious in the image of Katerina Kabanova (According to the play by A. N. Ostrovsky "Thunderstorm")
In the drama "Thunderstorm" Ostrovsky created a very psychologically complex image - the image of Katerina Kabanova. This young woman disposes the viewer with her huge, pure soul, childish sincerity and kindness. But she lives in the musty atmosphere of the "dark kingdom" of merchant morals. Ostrovsky managed to create a bright and poetic image of a Russian woman from the people. The main storyline of the play is a tragic conflict between the living, feeling soul of Katerina and the dead way of life of the “dark kingdom”. Honest and touching Katerina turned out to be a disenfranchised victim of the cruel orders of the merchant environment. No wonder Dobrolyubov called Katerina "a ray of light in a dark kingdom." Katerina did not reconcile herself to despotism and tyranny; driven to despair, she challenges the "dark kingdom" and dies. Only in this way can she save her inner world from rough pressure. According to critics, for Katerina “not death is desirable, but life is unbearable. To live for her means to be herself. Not to be herself means not to live for her.
The image of Katerina is built on a folk-poetic basis. Her pure soul is merged with nature. She presents herself as a bird, the image of which in folklore is closely connected with the concept of will. “I lived, didn’t grieve about anything, like a bird in the wild.” Katerina, who got into the house of Kabanova, as in a terrible prison, is often remembered parental home where she was treated with love and understanding. Talking to Varvara, the heroine asks: "... Why do people do not fly like birds? You know, sometimes I feel like I'm a bird." Katerina is torn to freedom from the cage, where she is forced to remain until the end of her days.
Religion evoked high feelings, a surge of joy and reverence in her. The beauty and fullness of the heroine's soul were expressed in prayers to God. “On a sunny day, such a bright pillar goes down from the dome, and smoke walks in this pillar, like clouds, and I see, it used to be that angels in this pillar fly and sing. And then, it happened ... I would get up at night ... but somewhere in a corner and pray until the morning. Or early in the morning I’ll go to the garden, as soon as the sun rises, I’ll fall on my knees, pray and cry.”
Katerina expresses her thoughts and feelings in poetic folk language. The melodious speech of the heroine is colored by love for the world, the use of many diminutive forms characterizes her soul. She says “sunshine”, “voditsa”, “grave”, often resorts to repetitions, as in the songs: “on a troika on a good one”, “people are disgusting to me, and the house is disgusting to me, and the walls are disgusting.” Trying to throw out the feelings seething in her, Katerina exclaims: “Wild winds, transfer my sadness and longing to him!”
The tragedy of Katerina is that she does not know how and does not want to lie. And in the "dark kingdom" lies are the basis of life and relationships. Boris tells her: "No one will know about our love ...", to which Katerina replies: "Let everyone know, let everyone see what I'm doing!" These words reveal the courageous, wholesome nature of this woman, who risks challenging philistine morality, confronting society alone.
But, having fallen in love with Boris, Katerina enters into a struggle with herself, with her convictions. She, a married woman, feels like a great sinner. Her faith in God is not the hypocrisy of Kabanikha, who covers up her malice and misanthropy with God. Awareness of one's own sinfulness, pangs of conscience haunt Katerina. She complains to Varya: “Ah, Varya, sin is on my mind! How much I, poor thing, cried, what I did not do to myself! I can't get away from this sin. Nowhere to go. After all, this is not good, this is a terrible sin, Varenka, that I love another? Katerina does not think about the fact that they committed violence against her, giving her in marriage to the unloved. Her husband, Tikhon, is happy to leave home and does not want to protect his wife from her mother-in-law. Her heart tells her that her love is the greatest happiness, in which there is nothing wrong, but the morality of society and the church does not forgive the free manifestation of feelings. Katerina wrestles with unresolvable questions.
The tension in the play is growing, Katerina is afraid of a thunderstorm, hears the terrible prophecies of a crazy lady, sees a picture depicting the Last Judgment on the wall. In the darkening of her mind, she repents of her sin. Repentance from a pure heart according to religious laws necessarily requires forgiveness. But people have forgotten the kind, forgiving and loving God, they still have a punishing and punishing God. Katerina does not receive forgiveness. She does not want to live and suffer, she has nowhere to go, her beloved turned out to be as weak and dependent as her husband. Everyone betrayed her. The church considers suicide a terrible sin, but for Katerina it is an act of despair. It is better to be in hell than to live in the "dark kingdom". The heroine cannot harm anyone, so she decides to die herself. Throwing herself off a cliff into the Volga, Katerina at the last moment thinks not about her sin, but about love, which illuminated her life with great happiness. Katerina's last words are addressed to Boris: “My friend! My joy! Goodbye!" One can only hope that God will be more merciful to Katerina than people.
The main motives, themes and images of the lyrics of F. I. Tyutchev
The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative legacy to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy worked. Contemporaries considered Tyutchev the smartest, most educated person of his time, they called him "a real European." From the age of eighteen, the poet lived and studied in Europe, and in his homeland his works became known only in the early 50s of the XIX century.
A distinctive feature of Tyutchev's lyrics was that the poet did not seek to remake life, but tried to understand its secrets, its innermost meaning. That is why b about most of his poems are permeated with philosophical thoughts about the mystery of the universe, about the connection human soul with space.
Tyutchev's lyrics can be thematically divided into philosophical, civil, landscape and love. But in each poem, these themes are closely intertwined, turning into a work of surprisingly deep meaning.
The poems "December 14, 1825", "Above this dark crowd ...", "The Last Cataclysm" and others belong to the civil lyrics. Tyutchev witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.
In the poem "December 14, 1825", dedicated to the Decembrist uprising, the poet angrily denounces the autocracy, which corrupted the ruling elite of Russia:
The people, shunning treachery,
Swears your names -
And your memory is from posterity,
Like a corpse in the ground, buried.
The poem "Over this dark crowd ..." reminds us of Pushkin's freedom-loving lyrics. In it, Tyutchev is indignant at the "corruption of souls and emptiness" in the state and expresses hope for a better future:
... When will you rise, Freedom,
Will your golden beam shine?
The poem "Our Age" refers to philosophical lyrics. In it, the poet reflects on the state of the soul of a contemporary person. There is a lot of strength in the soul, but it is forced to remain silent in the conditions of lack of freedom:
Not the flesh, but the spirit has become corrupted in our days,
And the man is desperately longing ...
He rushes to the light from the night shadow
And, having found the light, grumbles and rebels.
According to the poet, a person has lost faith, without the light of which the soul is "dried", and his torment is unbearable. In many poems, the idea is heard that a person has not coped with the mission entrusted to him on Earth and that Chaos should swallow him up.
Tyutchev's landscape lyrics are filled with philosophical content. The poet says that nature is wise and eternal, it exists independently of man. Meanwhile, it is only in her that he draws strength for life:
So connected, united from the ages
union of consanguinity
Intelligent human genius
With the creative power of nature.
Tyutchev's poems about spring "Spring Waters" and "Spring Thunderstorm" became very famous and popular. The poet describes the stormy spring, the revival and joy of the emerging world. Spring makes him think about the future. The poet perceives autumn as a time of sadness, withering. It sets you up for reflection, peace and farewell to nature:
Is in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings.
From autumn, the poet moves immediately to eternity:
And there, in solemn peace
Undressed in the morning
Shining white mountain
Like an unearthly revelation.
Tyutchev was very fond of autumn, it’s not for nothing that he says about it: “Long, last, charm.”
In the poet's love lyrics, the landscape is often connected with the feelings of the hero in love. So, in the wonderful poem "I met you ..." we read:
Like late autumn sometimes
There are days, there are hours
When it suddenly blows in the spring
And something stirs in us.
The masterpieces of Tyutchev's love lyrics include the "Denisyev cycle", dedicated to his beloved E. A. Denisyeva, with whom relations lasted 14 years until her death. In this cycle, the poet describes in detail the stages of their acquaintance and subsequent life. Poems are a confession, like a personal diary of the poet. The last poems written on the death of a loved one are shaking with tragedy:
No, nobody has succeeded yet!
Oh Lord! .. and survive this ...
Tyutchev's lyrics have rightfully entered the golden fund of Russian poetry. It is full of philosophical thoughts and is distinguished by the perfection of form. Interest in the study of the human soul made Tyutchev's lyrics immortal.
The theme of love in the lyrics of F. I. Tyutchev
The talented Russian poet F. Tyutchev was a man who knew how to love deeply, passionately and devotedly. In Tyutchev's understanding, love is a "fatal duel": both the merging of souls and their confrontation. The poet's love poems are full of drama:
Oh, how deadly we love
As in the violent blindness of passions
We are the most likely to destroy
What is dear to our heart!
Tyutchev has a storm of feelings in his verses, he describes love in all its variety of manifestations. The poet believed that fate leads a person to true love. The poem "I met you ..." is dedicated to Tyutchev's first love, Amalia Lerchenfeld, to whom the poet wooed when she was 14 years old. The girl's parents did not agree to this marriage. 34 years have passed, Amalia did not forget her lover and came to visit him. Tyutchev was already dying, and the appearance of Amalia at his bedside was perceived as a miracle. After her farewell visit, the poet wrote the poem "I remember the golden time ...":
As after centuries of separation,
I look at you, as if in a dream, -
And now - the sounds became more audible,
Not silenced in me...
There's not just one memory
Then life spoke again, -
And the same charm in you,
And the same love in my soul! ..
In the poem "Twins" Tyutchev calls Suicide and Love twins. The author is sure that love can bring a person to suicide.
Tyutchev's famous "Denisiev cycle" was a reflection of the poet's deep and passionate love for the young teacher of his children, E. A. Denisyeva. A large number of poems are dedicated to her, which, collected in a cycle, represent a kind of diary of their relationship, which lasted 14 years. Denisyeva died young of consumption.
In the poem "Oh, how deadly we love ..." the poet says that love must be protected, protected from the evil of the world, otherwise it can be lost. The poet punishes himself for this love, which brought so much suffering to his beloved:
... Fate is a terrible sentence
Your love was for her
And undeserved shame
She lay down on her life ...
Society despised Denisyev for having a relationship with a married poet. At the beginning of the relationship, she was a cheerful and cheerful girl, but then:
Where did the roses go,
The smile of the lips and the sparkle of the eyes?
Everything was singed, tears were burned out
Its hot moisture.
This love of the poet ended with the death of his beloved. The last poems written on the death of a loved one are shaking with tragedy:
You loved, and the way you love -
No, nobody has succeeded yet!
Oh Lord! .. and survive this ...
And the heart was not torn to shreds ...
In poems written after the death of his beloved, the poet tries to resurrect her image, repents of sins before her, recalls the moments of their common happiness, continues to talk to her:
This is the world where we lived with you,
My angel, do you see me?
Tyutchev's love lyrics are full of a desire to understand the soul of a woman, deification and sympathy. The talents of Blok, Tsvetaeva and many other poets, right up to our contemporaries, subsequently formed on this lyric.
The theme of the motherland in the poetry of F. I. Tyutchev
The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative legacy to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy worked. Contemporaries considered Tyutchev the smartest, most educated person of his time, they called him "a real European." From the age of eighteen, the poet lived and studied in Europe.
Tyutchev for a long life witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.
The theme of the motherland arises in Tyutchev's work when he returns to Russia in the 1950s. His attitude to his homeland was ambivalent, like that of Lermontov:
So I saw you again
Places are not nice, albeit familiar.
The poem "These poor villages ..." is filled with deep compassion for the Russian people, the poor, exhausted by overwork:
These poor villages
This meager nature
The land of native long-suffering,
The edge of the Russian people.
The theme of humiliation and lawlessness is continued by the poem "Tears":
Human tears, oh human tears,
You pour early and late sometimes ...
Flow unknown, flow invisible,
Inexhaustible, innumerable, -
Pour like rain streams pour,
In autumn, deaf, sometimes at night.
The poet in his work began to pay attention to everyday life, the daily hardships and concerns of people. The poem "Russian Woman" reflects the poet's sympathy for the powerless and humiliated position of women in Russia, which characterizes the author as a civilized person:
Far from the sun and nature
Far from light and art
Far away from life and love
Your younger years will flash,
Feelings that are alive will die,
Your dreams will shatter...
And your life will pass unseen...
The poet thought a lot about the fate of the motherland and came to the conclusion that:
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.
The poet believed that all living things have a soul. Russia also has it, in which, as in a deity, you can believe. The homeland for Tyutchev is an object of worship. The poet believed that Russia has a special path, God loves it, and its mission is to renew humanity:
All of you, dear land,
In the form of a slave, the King of heaven
Went out blessing.
Tyutchev called for building relations in society on spiritual, Christian principles:
Corruption of souls and emptiness,
What gnaws the mind and the heart aches ...
Who will heal and protect them?
You, the pure robe of Christ...
The poet's poems about the motherland are filled with bitterness and compassion. He understood that in Russia there was a confrontation between the forces of good and evil, but so far evil was winning. The country itself must make a choice, solve its internal problems. In the Russian national character, according to the poet, there is a huge positive potential, the “Russian soul” is smart and talented, so there remains hope for changes for the better.
The theme of love in the lyrics of A. A. Fet
The work of the great Russian poet Afanasy Afanasyevich Fet is a world of beauty. His poems are permeated with powerful flows of energy of happiness and delight, filled with admiration for the beauty of the world and nature. The main motive of his lyrics was beauty. It was her that he sang in everything.
Fet's love lyrics are an ocean of sun, happiness and joy. He idolizes a woman, wants to fulfill her every desire, he is caring and gentle towards her:
Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest
Brightly puffs on the pits of the cheeks.
The feeling of love in Fet is devoid of destructive passion, like in Tyutchev. The poet admires his beloved, who fills the world of beauty and peace with her existence. The lyrical hero is kind and attentive, he is a real protector for his beloved from all evil. He is solid, reliable and calmly happy, nothing threatens his love. The lyrical hero comes in the morning to:
Like yesterday, I came again
That the soul is still the same happiness
And ready to serve you.
nature, love and musical art in the lyrics of Fet are merged. The poet reflects the world of feelings, moods in all their infinite variety. Each poem by Fet is created as an original melody. Composers immediately felt this and wrote many romances to Fet's poems. This is the poem “The night shone. The garden was full of moon ... ". Just like the hero of Pushkin's poem "I remember a wonderful moment ...", the lyrical hero Fet experiences two meetings with his beloved. The poem begins with a description of a wondrous, magical and mysterious night. In the velvety summer silence, only the beautiful moon and the wonderful voice of his beloved exist for the hero:
The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are alone - love, that there is no other love,
And so I wanted to live, so that, without dropping a sound,
Love you, hug and cry over you.
The poet does not tell the story of the relationship between two people, does not describe the appearance of his beloved woman. There is only her amazing voice, her soul sings, referring to her beloved. Only music can convey all shades of feelings, explain what words lack. Separation did not kill love. The hero listens and understands:
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
In Fet's life there was a high love for the daughter of the landowner Maria Lazich, who tragically died young. The girl knew that Fet would never marry her. This love inspired the poet all his life, he was tormented by guilt. Only in the world of his poems were lovers together:
And though life without you
I am destined to drag
But we are with you
We cannot be separated.
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky dots the purple of a rose,
reflection of amber,
And kisses, and tears,
And dawn, dawn!..
Following his artistic style, the poet does not show the development of relations between young people, but depicts moments of supreme delight, the most significant for them. Fet, like no one else, managed to describe the world of beautiful human feelings, his poems became classics of Russian lyrics of the 19th century.
"Eternal" themes (love, death, nature, poetry) in the lyrics of A. A. Fet
After Pushkin, there was another "joyful" poet in Russia - this is Afanasy Afanasyevich Fet. In his poetry there are no motives of civil, freedom-loving lyrics, he did not raise social issues. His work is a world of beauty and happiness. Fet's poems are permeated with powerful flows of energy of happiness and delight, filled with admiration for the beauty of the world and nature. The main motive of his lyrics was beauty. It was her that he sang in everything. Unlike most Russian poets of the second half of the 19th century, with their protests and denunciations of the existing order, Fet considered poetry a “temple of art”, and himself a priest in it. Later, symbolist poets at the turn of the 19th and 20th centuries adhered to this point of view. They considered Fet their brilliant teacher.
Nature, love and musical art are merged into one in Fet's lyrics. The poet reflects the world of feelings, moods in all their infinite variety. Each poem by Fet is created as an original melody. Composers immediately felt this and created many romances based on Fet's poems. This is the poem "Fantasy":
We are alone; from the garden to the glass windows
The moon is shining... our candles are dim;
Your fragrant, your obedient curl,
Developing, falls on the shoulders.
Fet brilliantly knew how to depict a moment, a moment of feeling, transitions from one mood to another. For this, contemporary critics called his poems "plotless." Researchers of the 20th century have already called Fet's work impressionism in Russian poetry for the author's ability to convey the slightest shades of feelings. Best of all, the poet succeeded in the genre of lyrical miniature:
In this mirror under the willow
Caught my look jealous
Sweet features of the heart ...
Softer your proud gaze ...
I'm trembling looking happy
How you tremble in the water.
Fet's love lyrics are an ocean of sun, happiness and joy. He idolizes a woman, wants to fulfill her every desire, caring and gentle towards her:
Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest
Brightly puffs on the pits of the cheeks.
The feeling of love in Fet is devoid of destructive passion, like in Tyutchev. The poet admires his beloved, who fills the world of beauty and peace with her existence. The lyrical hero is kind and attentive, he is a real protector from all evil for his beloved. He is solid, reliable and calmly happy, nothing threatens his love:
Tell that with the same passion
Like yesterday, I came again
That the soul is still the same happiness
And ready to serve you.
Fet’s nature is alive and thinking: “morning breathes”, “the forest woke up”, “the moon played”, etc. Using the method of personification, the poet achieves an amazing effect of communication, unity of man with nature:
The garden is in bloom
Evening on fire
So refreshingly joyful to me!
Here I stand
Here I go.
Like a mysterious speech I'm waiting for.
The masterpiece of Fet's lyrics is the poem "Whisper, timid breathing ...". The landscape painting includes a scene of a meeting between lovers. The communication of people and the life of nature are conveyed in dynamics, although there is not a single verb in the poem. Nature reflects the passionate feelings of lovers:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky dots the purple of a rose,
reflection of amber,
And kisses, and tears,
And dawn, dawn!..
Following his artistic style, the poet does not show the development of relations between young people, but depicts moments of supreme delight, the most significant for them.
Fet's landscape poems are usually full of life, sounds and smells, but sometimes he manages to create a majestic picture of evening nature:
The mirror moon floats across the azure desert,
The grasses of the steppe are humiliated by evening moisture,
Speech is jerky, the heart is again superstitious,
Long shadows in the distance sank into a hollow.
In his lyrics, the poet strove to depict not objects, but the feelings that they evoke. His innovation lies in the ability to convey the momentary variability of the world. That is why the poet's habitual images turn into something new and unusual, surprising readers. Fet, like no one else, managed to describe the world of beautiful human feelings, his poems became classics of Russian lyrics of the 19th century.
Oblomov and "Oblomovism" in I. A. Goncharov's novel "Oblomov"
The remarkable Russian prose writer of the second half of the 19th century, Ivan Aleksandrovich Goncharov, in his novel Oblomov, reflected the difficult time of transition from one era of Russian life to another. Feudal relations, the estate type of economy were replaced by a bourgeois way of life. The centuries-old views of people on life collapsed. The fate of Ilya Ilyich Oblomov can be called " ordinary story”, typical for landowners who lived serenely at the expense of the labor of serfs. The environment and upbringing made them weak-willed, apathetic people, incapable of decisive action.
"Why am I like this?" Oblomov asks himself. He, a thirty-two-year-old man, is sadly aware of his own uselessness in society. At the beginning of the novel, the author describes in detail the hero's childhood and life in the ancestral village of Oblomovka, where the main occupation for the masters was food and sleep. Ilyusha was loved, pitied and fed, but not prepared for adulthood. The result was a kind big kid, irresponsible, unable to take care of himself. Goncharov draws his hero as a man "of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face,<…>hid in the folds of her forehead, then completely disappeared, and then an even light of carelessness flickered all over her face.
Having moved to St. Petersburg, Oblomov lives here according to the laws of Oblomovka. The main piece of furniture in his apartment is a sofa, on which the hero lies all day long in a greasy bathrobe. Dust, dirt, cobwebs all around; the old servant Zakhar is lazy and dissolute. The master sometimes scolds him, but in reality they cannot live without each other: “Ilya Ilyich could neither get up, nor go to bed, nor be combed and shod, nor dine without the help of Zakhar, and Zakhar could not imagine another master, except for Ilya Ilyich, another existence, how to dress, feed him, be rude to him, lie and at the same time revere him. He, without hesitation, would have died for his master, and it could not have occurred to him to change the servant.
Lying was not a necessity for Oblomov, as for a sick or tired person. This was his normal natural state. The hero both sleeps and lives on the couch, in the afternoon coming up with a plan to improve the life of the peasants on his estate, where he has not been for 12 years. Taking advantage of the lack of will of the owner, the headman of Oblomovka brazenly deceives the master, referring to the constant drought and crop failure. The slightest changes in life scare Oblomov. Just leaving the house, especially going to the village and sorting it out, is beyond his strength.
An attempt to join public life ended in failure for him. Having somehow graduated from the university, Oblomov enters the service of an official, but work in the office - meaningless shifting of pieces of paper - requires great effort and concentration from him. Having sent one of the letters to the wrong address, Ilya Ilyich fell into a depression, could not overcome the feeling of guilt and was no longer in the service. Oblomov is a kind, decent, not devoid of intelligence and abilities person. He would never agree to be mean or lie for a career. It is unbearable for him to portray the ebullient activity in the office, which does not bring any benefit to the state. He cannot harm others, so he chooses idleness as the only way to exist. At least he does not participate in the general evil by excluding himself from active life. He only harms himself. But most importantly, he was brought up in a tradition when labor was considered a punishment for a person, torment, God's punishment for sins. So, relatives and servants with lamentations escorted Ilya to the city to study, as if to death. Behind the carriage of young Oblomov, carts with food and things stretched. At 32, he proudly declares that he has never worn stockings himself!
Sometimes his acquaintances come to visit Oblomov, tell the news, call him for a walk, which the hero always refuses. The young social dandy Volkov seduces Ilya Ilyich to take a ride to the festivities in Yekateringof, talks about visits, gloves and a tailcoat, about his next love. A former colleague, Sudbinsky, talks about a career, a profitable marriage, money, apartments, etc. The writer of newspaper articles, the "writer" Penkin, tires Oblomov with a list of social vices, suggests reading his article "The love of a bribe-taker for a fallen woman." The petty official Alekseev, "a man of indefinite years, with an indefinite physiognomy," comes alone just to sit with Ilya Ilyich. The guests excitedly talk about their own, they do not hear Oblomov's complaints about the headman and the need to move to another apartment, and only Alekseev, who lives in extreme poverty, sympathizes with the owner. Listening to the stories of acquaintances about their turbulent life, Oblomov pities them, considering them deeply unhappy. He understands the true meaning of actions. Acquaintances rejoice, spending themselves on emptiness, vanity, which they seriously consider life. Goncharov skillfully depicts the senselessness of public service (Sudbinsky), the vulgarity and venality of writers of all stripes (Penkin), the aimlessness of life in high society (Volkov), the depersonalization of petty bureaucracy (Alekseev).
In the image of Oblomov, doom comes through. He voluntarily encloses himself in the space of four walls, seeing that evil triumphs around him. By nature, he is not a fighter. Even realizing that he is being robbed (headman Tarantyev), Ilya Ilyich is unable to resist or defend himself. Goncharov in the text of the novel directly names the cause of the disasters of his hero - this is Oblomovism. It is she who causes paralysis of the will, irresponsibility, fear of life, the habit of hoping for a miracle or "maybe". Oblomovism turned the life of Ilya Ilyich into a miserable existence, and the Oblomov family, once strong and rich, was now completely crushed and degraded. Having absorbed this corrupting psychology with early years, the hero can no longer live differently. From childhood, Ilya was protected from the harsh laws of life, in which idleness for aristocrats was the main privilege of the ruling class. Hence all the misfortunes of Oblomov, his lack of demand by society, on the one hand, and the inability to do anything without outside help, on the other. Oblomovka with her morals is his paradise, where he dreams of returning and which he finally found in the house of the widow Pshenitsyna, where he died happy.
In the article "What is Oblomovism?" the critic N. A. Dobrolyubov analyzed the historical situation in Russia and assessed the hero of the novel and the phenomenon itself. Oblomovism, this eternal "dream of reason" and will, crippled the souls of people, made them lazy and weak-willed. The critic points to the typical character of Oblomov. He wrote that Goncharov wanted to make a random image typical. Not without reason, trying to justify himself, Oblomov exclaims: “Am I the only Oblomovite? We are legion!
Depicting the Russian master, Goncharov shows the process of degeneration of the nobility and draws attention to the characteristic features national character. Goncharov's realism is remarkable in that, along with positive qualities the writer ruthlessly shows and negative traits that belong to the hero. The features of Oblomovism are still alive among the Slavs: a sort of expectation of milk rivers with jelly banks while lying comfortably on the stove. Dobrolyubov does not agree with the ending of Goncharov's novel. He wrote that Goncharov decided to bury Oblomovism. “Farewell, old Oblomovka, you have outlived your time,” he says through the mouth of Stolz, and is not telling the truth. Oblomovka is alive, and "her three hundred Zakharovs are always ready to serve." The novel by I. Goncharov outlived its time and remained in the history of Russian literature precisely because more than one generation of Russian people will have to get rid of the psychology of Oblomovism in themselves.
The role of Bazarov in the development of the main conflict of the novel by I. S. Turgenev "Fathers and Sons"
In his work, Ivan Sergeevich Turgenev always tried to keep up with the times. He was keenly interested in the events in the country, watched the development of social movements. The writer approached the analysis of the phenomena of Russian life with all responsibility and tried to thoroughly understand everything.
The writer accurately dates his novel “Fathers and Sons” to 1859, when educated commoners began to play a prominent role in Russian society, replacing the fading nobility. The epilogue of the novel tells about life after the peasant reform. The situation in the country before the reform of 1861 was tense: the democratic revolutionaries put forward their demands, the liberals theirs.
The title of the novel is associated with the everyday problem of "fathers and children", but the writer thinks more broadly. He felt and reflected in his novel the forthcoming change in socio-political formations. The nobility was leaving the political scene. What and who will replace him? The country was talking about the appearance of some nihilists. The writer undertakes to investigate a new phenomenon, the philosophy of life of the new rulers of minds.
Turgenev set himself the task of creating a portrait of a modern nihilist, not at all like the former rebellious Pechorin nobles, to find out what threatens society with their appearance, to give a "forecast" for the future. The writer considered nihilism, with its aggressiveness, rejection of other people's opinions, denial of culture, a dangerous fad that can kill in a person living soul. Nihilism was widespread among young people, that is, "children", and it arose as a protest against the outdated ideology of the nobles - "fathers".
The nihilist hero, the young naturalist Bazarov, was completely different from the former heroes of the works of Russian literature. At the beginning of work on the novel, Turgenev was sharply negative about this image. The writer's goal was to debunk nihilism.
Bazarov expresses his views in disputes with Pavel Petrovich Kirsanov, the uncle of his friend Arkady. Both debaters fiercely defend their own judgments about the structure of life. Bazarov does not believe in anything, denies any principles of people of the past generation. He is a materialist and rationalist, he is sure that the future belongs to science, which by experience will reveal all the secrets of life.
Turgenev in his works always avoided censure, teaching and edification. He does not draw conclusions, avoids comments, deliberately hides the inner world of the hero so that the reader himself understands who is in front of him. The author narrates about Bazarov in a calm tone, showing respect for the ideological opponent. The writer consistently reveals the weaknesses of the theory of nihilism.
In the first chapters of the novel, Bazarov appears as a maximalist, firmly standing on his positions. The writer emphasizes the hero's confidence with his polished, thoughtful remarks, which, obviously, he uses. Bazarov, to the horror of Pavel Petrovich, declares that "a decent chemist is twenty times more useful than any poet" or "Rafael is not worth a penny." Pavel Petrovich is already shocked by the appearance of the guest: a red, weathered hand that did not know gloves, a hoodie with tassels, sideburns. But much more differences are internal. Bazarov claims that he sees no difference between man and animal. He says: “Man is the same frog”, and explains the actions of people from the point of view of physiology, denying the soul and feelings in them. In general, any manifestation of feelings is interpreted by Bazarov as weakness. The hero denies love, music, art, enjoyment of nature, declaring that "nature is not a temple, but a workshop, and man is a worker in it."
Turgenev spends his writing "experience", he tests Bazarov with love. Life, which is love, destroys the "harmonious" theories of the hero. In Odintsova, he suddenly saw an extraordinary woman who commanded respect. At first, Bazarov tries to cover up his embarrassment and confusion with rudeness and swagger of tone in a conversation with a new acquaintance, but love takes possession of him more and more. The capacity for great love speaks of the strength of the soul. Love cleanses. She brushed off everything false from Bazarov. The hero wants to meet and talk with this smart, independent woman. He changes so much that he ceases to recognize himself. The irreconcilable nihilist Bazarov turned into a romantic: the rustle of leaves, night sounds seem mysterious to him. In his love, he shows talent and strength. The break with Odintsova leads the hero to a difficult state of mind, but he continues to work, to save the sick.
"Bazarovshchina" was defeated. Bazarov, who managed to understand his delusions, to abandon extremes in life, won. Turgenev created the tragic image of a lone hero. Before death, this is a different person. He understood the value of life, its beauty and wisdom, realized how much he had not had time and would never have time to do. Bazarov commands respect for his fortitude and fortitude.
The writer believed that the time of people like Bazarov had not yet come. The novel "Fathers and Sons" became an event in Russian literature. Turgenev showed the failure of the noble class and the unpreparedness for the accomplishments of the young "children" of the new time.
The generation of "fathers" in the novel by I. S. Turgenev "Fathers and Sons"
Regarding the ideological content of the novel Fathers and Sons, Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look into the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Sweetness and lethargy or narrowness. Aesthetic feeling forced me to take just good representatives of the nobility in order to prove my theme all the more correctly: if cream is bad, what about milk? .. They are the best of the nobles - and that is why I have been chosen by me to prove their failure.
Pavel Petrovich Kirsanov is depicted as an aristocratic gentleman with excellent manners, who carefully monitors his appearance and the execution of noble etiquette. He was the son of a general, served in the capital as a guards officer, could make a brilliant career. The tragic love for an empty secular beauty turned his life upside down, he left for the estate, where he lives with his brother Nikolai Petrovich.
In the views of Pavel Petrovich, Westernism and Slavophilism were mixed. In his youth, he considered himself a liberal. Kirsanov considers the Russian people to be patriarchal. The people, in his opinion, “honor the traditions”, “cannot live without faith”, but, talking with the peasants, Pavel Petrovich “wrinkles his face and sniffs the cologne”. Love for the people is symbolized for him by an ashtray in the form of a peasant's bast shoes, standing on the table. Turgenev depicts an aristocrat admiring himself, whose active life is in the past. The author clarifies: "Yes, and he was a dead man."
The appearance of Bazarov, a man of opposing views and aspirations, brought anxiety and irritation into the quiet, serene life of the "fathers". Bazarov despises the values of the noble class, lives by his own laws. Even the lackey Prokofich, accustomed to the habits of "real gentlemen", is indignant at the rude manners of the guest brought by Arkady. Bazarov calls his unthinkable hoodie with tassels "clothes", being at a party, behaves defiantly with the hosts.
At first glance, the elder Kirsanov “had hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian; he suspected that Bazarov did not respect him, that he almost despised him - him, Pavel Kirsanov! Kirsanov is convinced that he lives right and deserves respect. He warmly treats his brother, Fenechka, nephew Arkady. He is capable of great feeling, honest and noble. After the duel, Kirsanov recognizes the strength of Bazarov's character and notes the courage with which he held on.
Bazarov's statements cross out his whole life. It turns out that, according to the young nihilist, Pavel Petrovich is a “feudal lord”, an “archaic phenomenon”, his life is “emptiness and licentiousness”, his “principles” are the empty words of a person who “sits idly by”. In response, Kirsanov rushes to defend the aristocrats and the nobility in general. He still finds a weak spot in the life philosophy of Bazarov, who proposes to destroy everything old. Kirsanov quite rightly remarks: "You deny everything ... Why, you need to build." Bazarov replies: "This is no longer our business ... First we need to clear the place." This is how Turgenev defines the essence of nihilism - to destroy without caring about the future. Bazarov formulates as follows: “We ... decided not to take on anything ... And swear ... And this is called nihilism.”
Pavel Petrovich is struck by Bazarov's blasphemous statements about the uselessness of culture, art, poetry, and faith. For him, as for Turgenev, these were sacred concepts for a reasonable person. In this, Pavel Petrovich is absolutely right. A dispute between two representatives of different "historical" types reveals the inner emptiness of the beliefs of one and the other. There is nothing behind their words. The “fathers” have already lost everything, the “children” have not found anything positive.
The representative of the generation of "fathers" is Nikolai Petrovich Kirsanov. He is kind-hearted by nature, a calm, balanced person, a lover of playing the cello. Around him are people who love him, happiness with Fenechka and a child, a good son Arkady. But in general, his life is spent in petty everyday troubles. Nikolai Petrovich resists the collapse of the noble system, tries to equip the estate, keep up with life, but “his song is sung”, he is a “retired man”. He, like a true gentleman, in all his undertakings demonstrates a complete inability to live. He treats Bazarov's harsh statements with bewilderment. How can you not love music, nature? Nikolai Petrovich doubts in his heart that Bazarov does not really feel the charms of the world around him, he is inclined to be tolerant of his delusions.
Arkady Kirsanov, despite his youth, also belongs to the generation of "fathers" in his views. Bazarov's rebellious speeches captured him, he respects purposefulness and steadfastness in a friend, but his character is kind, flexible, he cannot be a leader, only a follower. Arkady, with his mother's milk, absorbed the ideology and life principles of the nobility, he is accustomed to the luxury, peace and serene life of a nobleman. He loves Katenka Odintsova, is happy with his family, he is quite satisfied with the life of a landowner. Arkady did not succeed in trying to imitate Bazarov. He becomes disillusioned with the ideas of nihilism.
The most touching in the novel are the old Bazarovs. They are simple, kind people, modest great workers. They adore their son, they are proud of him, they are ready to do everything for him. Bazarov's father is a staff doctor, he served during Patriotic War 1812. He was familiar with the participants in the December uprising, remembers them, speaks of them with respect. His whole life is creative work. In the garden, he “planted every tree himself”, in the morning he already has a shovel in his hands. Father Bazarov, to his own detriment, carried out progressive reforms and gave the land to the peasants, which he did not regret, but, on the contrary, was proud of this act. Turgenev describes Bazarov's mother with great sympathy: "a real Russian noblewoman." She “treated her subordinates affectionately and meekly, did not let a single beggar through without handouts and never condemned anyone, although she sometimes gossiped.” Bazarov loves old people very much, although he does not show it. Before his death, he asks Odintsova to take care of the elderly, because "... people like them cannot be found in our big world in the daytime with fire." The family laid in Bazarov true moral values that no new trends can change. Turgenev, with great power of talent, depicts the grief of parents who have lost a young, full of strength son. The author emphasizes how important the connection between generations is and how important it is to maintain it.
The theme of the tragic fate of a talented Russian person in the story of N. S. Leskov "The Enchanted Wanderer"
Russian 19th writer century N. S. Leskov was an expert on Russian patriarchal life. He was called a writer of everyday life for his excellent knowledge of the psychology and customs of the peasantry, artisans and workers' artels, officials of various ranks, the clergy, the intelligentsia and the military. He became famous as an original master of the Russian language and a talented satirist, denouncing the injustice of the authorities.
In the 60s of the XIX century, when Leskov began his creative activity, the writers were faced with the issue of creating a positive character in the works. Unlike the overwhelming majority of authors, whose positive heroes were revolutionary-minded seekers of freedom, Leskov did not see in the revolutionary an ideal for a Russian person. The writer created his diverse gallery of positive types. His positive heroes were from different strata of society, but invariably endowed with a moral principle, integrity of soul and character. Leskov's characters were honest, steadfast, courageous, as well as religious and patient with life's adversities. Leskov believed that moral self-improvement was the only means of overcoming evil.
The hero of the story "The Enchanted Wanderer" embodies the talent of a Russian person, his love of life, reverence for his native land. The fate of the protagonist Ivan Severyanych Flyagin is unusual. It is a symbol of immortality and the mighty strength of the Russian people, to whom "death is not written in the race." About himself, he says: “All my life I was dying and could not die in any way.” The writer portrays Flyagin as an enchanted wanderer on Russian soil.
The very appearance of Flyagin was a miracle of God. His parents begged him, promising to give him to the monastery. The hero knows and remembers this, sees God's providence in everything, and at the end of his life ends up in a monastery. Flyagin is by no means a saint, although he sometimes feels a prophetic gift in himself, real miracles happen to him. Ivan is a sinner, like all people. Because of him, a monk accidentally dies, he kills the Tatar prince, pushes Grushenka, whom he loves, into the water. He wanders the earth and, when he had nowhere to go, ends up in a monastery. Flyagin struggles with diabolical temptations, he yearns with all his might to fight and "die for the people", to accomplish a feat.
Describing the appearance of his hero, Leskov compares him with epic hero: “He was a man of enormous stature, with a swarthy, open face and thick, wavy lead-colored hair: his gray cast so strangely ... he was in the full sense of the hero, and, moreover, a typical, simple-hearted, kind Russian hero, reminiscent of grandfather Ilya Muromets. Ivan is looking for his place in life, trying to find a balance between the elemental power of his personality and the laws of society.
The writer saw a deep meaning in Russian wandering. The motive of the road, the path is of great importance to him. Each new residence of Flyagin is another stage in the moral development of the hero's soul. Living in the master's house, Ivan saves the owner's family from death, when a wagon with people almost falls into the abyss. At the same time, he does not expect gratitude, does not think that he has accomplished a feat. Ivan later serves as a nanny, raising someone else's girl with love and compassion. Here he gets the experience of communicating with the soul of another person, learns mercy and kindness. Further, by the will of fate, Flyagin spends nine years in captivity with the Tatars. The most dreary thing for him here was the monotonous steppe landscape, maddening solid feather grass stretching to the horizon. Ivan cannot understand the life of the Tatars, he yearns for his homeland, thinks about escaping.
Returning to his homeland, Ivan almost disappeared from drunkenness, but his high, pure love for the gypsy Grushenka saves him from this misfortune. The hero is completely reborn, giving everything to the woman he loves. After Grusha's death, Flyagin sets off again to atone for sin. Instead of a stranger, he goes to the soldiers, taking pity on his elderly parents. In the war, he accomplishes a feat, but still considers himself a "great sinner."
Leskov ends the story of the life of Ivan Flyagin when he, once in the monastery, still wants to go to war and die for the people. The writer created a generalized image of the Russian national character. The hero realized that the meaning of life is to give oneself to other people, to be useful to the people and the country.
Collective images of mayors and "stupid". The images of the organ and Moody-Burcheev in the story "The History of a City" by M. E. Saltykov-Shchedrin
The talented Russian satirist of the 19th century M. E. Saltykov-Shchedrin devoted his life to writing works in which he denounced autocracy and serfdom in Russia. He, like no one else, knew the structure of the "state machine", studied the psychology of the chiefs of all ranks, the Russian bureaucracy. In order to show the vices of public administration in their entirety and depth, the writer used the grotesque technique, which he considered the most effective means of reflecting reality. The grotesque image always goes beyond plausibility. With the help of the grotesque, one can single out, increase any character trait in such a way that the reasons for this or that phenomenon become clear. Hyperbole and fantasy, according to the writer, do not distort reality, they are special forms of figurative narration that make it possible to reveal the true nature of what is happening.
Saltykov-Shchedrin believed that "ghosts rule the world." Chiefs, rulers, officials are not living people, these are functions. They do not see and do not hear people, they fence themselves off from them in every possible way, they are tired of eternal requests. The task of a Russian official or city governor is to "drive" and "not let go." Thinking is unnecessary and even harmful.
Serving the ghost of the state is reflected in the "History of a City". In this work, Saltykov-Shchedrin drew a whole gallery of rulers, representatives of autocratic power. As a subject of research, the writer takes the history of the city of Glupov for a hundred years and traces the activities of all its mayors in chronological order. The purpose of the writer is to show the complete historical failure of the autocracy.
The book "Chronicle" contains the history of the city of Glupov, consisting of biographies of the mayors and descriptions of their most remarkable actions, namely: fast driving on post offices, collecting arrears, campaigns against the townsfolk, arranging pavements and imposing tribute on merchants. The main feature of all rulers is their uniformity. Differences were observed only in the application of punishments. All the rulers flogged the townspeople, only some explained why, while others did not.
The mayor Borodavkin, having arrived in Foolov, first of all studied the deeds of his predecessors, but only gasped, since it was not possible to determine what all these people were doing before him. In front of Wartkin there was some kind of "sleepy dream", images without faces flashed by. So the writer shows the impersonality of the mayors, who could only shout “I will ruin!”, “I will not tolerate!”, And what was discussed is not clear. The author notices that his heroes are shadows coming out of the darkness.
All city governors are ignorant, mentally limited, stupid. Here is how they are characterized in the "Chronicler": "With a not very extensive mind, he was tongue-tied"; "Having accomplished nothing, he was replaced in 1762 for ignorance"; "He died in 1819 from strain, trying to comprehend some Senate decree."
Saltykov-Shchedrin describes the two mayors in more detail. This is Brudasty and Gloomy-Grumbling. The busty man had an organ in his head instead of a brain, which could reproduce only two phrases: “I will ruin!”, “I will not tolerate!”. This was enough for him to rule the city and even "put in order the arrears." In the image of Brodystoy, the writer plays with the brainlessness of the bosses.
There is nothing human left in the last mayor, Ugryum-Burcheev, he has no feelings and emotions, the author compares him with a mechanism. The insensitivity of Grim-Burcheev terrifies visitors. “He didn’t stamp his feet, didn’t gesticulate, didn’t raise his voice, didn’t gnash his teeth, didn’t cackle, didn’t burst into sarcastic laughter ... He expressed his demands in a completely silent voice.” Then he directed a fixed, deadly look at the visitor. No one could bear this frozen look. His gaze was "light as steel" and "completely free of thought." The writer remarks: "He did not recognize reason at all and even considered it his worst enemy, entangling a person with a network of seductions." Gloomy-Grumbling was deprived even of feelings of anger, irritation, hatred, which made communication with him even more terrible. The author directly says that before us is an idiot. Further in the text, he repeatedly calls the mayor so. Having made some kind of insane decision, Grim-Grumbling went ahead, considering himself right in everything. He decided to regulate the entire life of the Foolovites, moreover, to subjugate the whole world to himself, "and, moreover, with such an indispensable calculation that it would be impossible to turn either back or forward, either to the right or to the left." So in the work there is an image of the desert, into which stupid, limited bosses turn everything around them. The portrait of Grim-Burcheev looks symbolic. In the picture, he is dressed in a military-style frock coat, in his hand "Charter", all around is a desert landscape, in the middle of which there is a prison, and instead of the sky, a gray soldier's overcoat hangs over everything. The desert symbolizes paradise - there is no one in it, no one disturbs.
Saltykov-Shchedrin created a monumental image that combines the most disgusting qualities hostile to man. The mayor conquered in himself "any nature", he has a "wooden face", a petrified figure. He is “a tightly sealed being from all sides”, acts like a soulless mechanism: no pity, no sympathy, no understanding. The satirist writer achieved an extraordinary effect of generalization, showing the very essence of tyranny in the image of the "omnipotent idiot".
Civic pathos of N. A. Nekrasov's poetry, its main themes, ideas and images
The literary talent of N. A. Nekrasov glorified him not only as a writer and poet, but also as an editor, journalist and critic. At various times he wrote poems, stories, feuilletons, vaudeville, satirical couplets - sharp and evil. Nekrasov also owns the unfinished novel The Life and Adventures of Tikhon Trostnikov. But the basis of his creative heritage is, of course, poetry.
Nekrasov belonged to the "natural school". He believed that literature should reflect real life, describe the slums, ulcers and hunger of the poor, the poverty of cellars, the torment of people. Gradually, Nekrasov becomes a democratic writer, an advocate of "the voiceless and downtrodden." He considered the direction of denunciation and protest the most correct in the conditions of cruel reaction, when the living word was forbidden in Russia. Nekrasov shared the democratic views of Belinsky and Chernyshevsky. Having become the editor of the largest literary magazine Sovremennik, Nekrasov was friends with revolutionary-minded people, was not afraid to help and sympathize with them.
In the 40s of the 19th century, civil lyrics prevailed in the poet's work. His works reflect the themes that life itself suggests. Such are the poems “On the Road”, “Troika”, “I’m driving down a dark street at night ...”, “Gardener”, “Yesterday, at six o’clock ...”, “Drunkard”, “Cab” and others. Nekrasov's merciless satire was directed against bureaucrats, tsarist officials, and unfair life in general. Many poems are autobiographical, written in the first person and reflect the personal impressions of the poet.
Nekrasov introduces into his poems the image of a citizen who actively and boldly defends the rights of a silent people. In creating this image, the poet was guided by Belinsky, Dobrolyubov and Chernyshevsky, in whom he saw the ideal of citizenship. He dedicated the poems “Knight for an Hour” and “In Memory of Belinsky” to Belinsky, “The Prophet” to Chernyshevsky, and “To the Memory of Dobrolyubov” to Dobrolyubov. All of them were lone fighters, therefore, along with the condemnation of injustice, the theme of loneliness of freedom fighters develops in the verses. Nekrasov gave the image of a citizen the features of a martyr, used Christian symbols. In the poem "Prophet" he writes:
He has not yet been crucified,
But the hour will come - he will be on the cross.
Sent by the God of Wrath and Sorrow
To remind the servants of the earth of Christ.
In poems of a civil orientation, Nekrasov not only criticizes and denounces. Poets of the past did this before him. Nekrasov's innovation lies in the fact that he showed the causes of outrages in the life of society.
The poem "On the Road" tells about the plight of a peasant girl. The coachman tells her story. Nekrasov remarkably conveys the folk speech of the coachman, skaz intonations. The story of a serf girl is typical for a Russian woman, her drama is not surprising. A simple coachman does not understand the causes of the tragedy, he ingenuously talks about it.
The poems "Troika" and "The Drunkard" are filled with the author's compassion for the hopeless peasant lot. Serfs have nothing to hope for.
Describing the mores of the oppressors, Nekrasov changes the tone of his verses. They become angry and harsh. The inhuman practices of the landlords towards their own peasants are described in the poem "Motherland". This work reflected the poet's childhood memories of the disgusting pictures of oppression and humiliation that he observed in his father's estate.
Nekrasov knew how to turn a simple everyday scene into a vivid work. The poem "Reflection at the front door" describes tragic fate numerous walkers from the villages who tried to file a complaint in the capital about the harassment of estate managers. Exhausted by the bullying and robbery of the managers, who were often Germans, the villagers collected money and sent envoys from the people to the capital, where the owner of the estate lived in luxury. For months, the men guarded the nobleman at the front entrances, but to no avail. When they ran out of money, they asked for alms. It was impossible for them to return to the village: what to say to fellow villagers? And so the peasants disappeared, hoping for the mercy of the masters who did not consider them to be people. Nekrasov shows a glaring contrast between the poverty of the peasants and the luxurious life of the capital's nobles. The poet says that the rich are "cursed by the people."
Nekrasov's lyrics were dangerous for the authorities. The poet alone fought off the attacks of reactionary criticism. The value of his poems lies in the sincerity of sympathy for the Russian people.
The originality of the solution of the theme of the poet and poetry. The image of the muse in the lyrics of N. A. Nekrasov
The theme of the poet and poetry is eternal in literature. In works about the role and significance of the poet and poetry, the author expresses his views, beliefs, and creative tasks.
In the middle of the 19th century, in Russian poetry, the original image of the Poet was created by N. Nekrasov. Already in the early lyrics, he speaks of himself as a poet of a new type. According to him, he was never a "darling of freedom" and "a friend of laziness." In his poems, he embodied the boiling "heart torment". Nekrasov was strict with himself and his Muse. About his poetry he says:
But I do not flatter that in the memory of the people
Some of them survived...
There is no free poetry in you,
My harsh, clumsy verse!
The poet claims that his poems consist of "living blood", "vengeful feelings" and love.
The love that glorifies the good
What marks the villain and the fool
And endows with a wreath of thorns
defenseless singer.
Nekrasov writes about the composition of poetry as about hard work. He does not have sublime, poetic intonations, as, for example, in Pushkin. In life, Nekrasov had to work hard, painfully for the sake of earning money, and his own poems helped, at least for a while, to escape from compulsory service. Left without the help of his family, Nekrasov from his youth was a "literary laborer." To survive in St. Petersburg, he had to write reviews, couplets, feuilletons and much more. Such work exhausted the poet, took away his strength and health. Nekrasov's poems are "severe poems", they contain the power of love and hatred for the rich who oppress the people.
On the death of Gogol, Nekrasov wrote the poem "Blessed is the gentle poet ...". In it, the hero-poet is a "revealer of the crowd", who goes on a "thorny path", they do not understand him and curse him.
At a new stage in history, in the second half of the 19th century, Nekrasov wrote the poem "Prophet". His poet-prophet sacrifices himself for the sake of people, their happy and just life in the future. The poem is written in the form of a dialogue between a prophet and a person from the crowd. Prophet Nekrasov is ready to sacrifice:
It is possible to live for oneself only in the world,
But it is possible for others to die.
The prophet is sure that it is possible to serve good if one sacrifices oneself, like Christ. The poet was sent to remind people of God. Nekrasov called God himself "the God of anger and sadness."
In the poem “The Poet and the Citizen”, a purely Nekrasian image of “love-hate” arises, which neither Pushkin nor Lermontov had:
I swear I honestly hated it!
I swear I truly loved!
Unlike his great predecessors, Nekrasov lacks the motive of resentment, of confronting the whole world. His poet is not a titan and not an otherworldly being chosen by God. "Hostile words of denial" the poet Nekrasova utters in the name of love for people. Nekrasov defended the right of civil poetry to denounce the unrest of public life:
Who lives without sorrow and anger,
He does not love his homeland ...
Nekrasov's innovation is that he rethought the role of the poet and poetry. If Pushkin's poem "A Conversation between a Bookseller and a Poet" is about creative freedom, then Nekrasov's is about the poet's duty to society and its citizens.
The poem "The Poet and the Citizen" speaks of the decline of poetry, of a time when poets, at a loss, do not know what to write about. A citizen who comes to a dull poet demands verses from him for “work and good”:
You may not be a poet
But you have to be a citizen.
You can choose the path of a "harmless" poet, or you can benefit the country. The citizen says that there are “acquisitives and thieves” or “inactive wise men”, various irresponsible talkers around. It is now that accusatory verses can bring many benefits, become a real “work”. The poet justifies himself and quotes Pushkin's lines: "We were born for inspiration, / For sweet sounds and prayers." But the citizen answers him:
No, you are not Pushkin. But as long as
The sun is nowhere to be seen
It's a shame to sleep with your talent...
The son cannot look calmly
On the mother's mountain...
In the final part of the poem, Nekrasov talks about his talent, about the Muse. These lines sound like a confession. The drama of the poet who “stands at the door of the coffin” is not in the approaching death, but in the fact that the Muse left him, he lost his inspiration. Nekrasov presents his life as a tragic "romance" with the Muse. The muse left the poet because he did not become a hero in the fight against tyranny, he is "the son of a sick age", unworthy of her. The poet turned out to be a weak person, did not justify the talent given to him.
The image of the suffering Muse is shown in the poem "Yesterday, at six o'clock ...":
Yesterday at six o'clock
I went to Sennaya;
They beat a woman with a whip,
A young peasant woman.
Not a sound from her chest
Only the whip whistled, playing ...
And I said to the Muse: “Look!
Your dear sister! .. "
Nekrasov's muse is not an ancient creature, but a simple girl who is subjected to shameful public punishment. She proudly bears him, calling for revenge.
Nekrasov's self-criticism in relation to himself is not always justified. His civil lyrics really were a weapon, calling for a fight, bringing confusion into the ranks of the enemies of freedom.
Russian life in the poem by N. A. Nekrasov “Who should live well in Russia”
The result of twenty years of work was for Nekrasov the poem "Who should live well in Russia." In it, the author voiced the most important issues of the era, described the folk life of post-reform Russia. Critics call this poem an epic folk life. In it, Nekrasov created a multifaceted plot and introduced a large number of actors. As in folklore, the narrative is built in the form of a journey, a journey, but main question- one: to find out the idea of the happiness of a Russian person. Happiness is a complex concept. This includes social position, moral and political laws. Peasants live on the earth, in their villages, under the authority of local authorities, so Nekrasov does not talk about religion. Is it possible to be happy on earth and not in heaven? - that's how the question is posed.
Even in the poem "Elegy", the poet asked the question: "The people are freed, but are the people happy?" In the poem, Nekrasov looks at life through the eyes of peasants. Seven men go across Russia in search of truth and justice. The names of the villages in the poem eloquently speak of the people's life in them: "The tightened province of the Terpigorev district of the Empty volost from adjacent villages - Zaplatova, Dyryavin, Razutov, Znobishina, Gorelova, Neyolova, Neurozhayka, too."
Despite the government reform carried out to improve the lives of the people, the happiness of the peasants is still "leaky with patches, bloody with corns." The peasants do not even ask the peasants about happiness, they know that they do not have it. The songs "Corvee", "Hungry", "Soldier's", "Merry", "Salty" describe the life of Russian peasants before the reform. They all live like the peasant Kalinushka. Him
From the bast to the gate
The skin is all torn
The belly swells from the chaff,
twisted, twisted,
Slashed, tormented
Hardly Kalina wanders.
Wanderers hope that the priest, the landowner, the official, the "fat-bellied merchant", the minister, the tsar have happiness. Wherever the truth-seekers go, everywhere they face a glaring picture of people's grief. Men drown their misfortune and hopelessness in wine:
There is no measure for Russian hops.
Did they measure our grief?
Is there a measure for work?
Nekrasov shows several generalized types of Russian peasants. Despite the age-old need, people's intercessors remained among the peasants. These are Yakim Nagoi, Yermil Girin, the robber Kudeyar, Matryona Timofeevna, the “Holy Russian hero” Saveliy, the young literate son of the deacon Grisha Dobrosklonov. They always respond to someone else's misfortune, they are ready to suffer for the people.
Yakim Nagoi does not agree that happiness is "peace, wealth, honor." He understands who the peasants work for, and that happiness is not in money. When a fire broke out, Yakim saves not money accumulated by hard work, but “pictures” - food for the soul.
Saveliy, the hero of Holy Russia, is convinced that one must defend one's rights, not allow oneself to be mocked: "To not endure - the abyss, to endure - the abyss." Twenty years later, Savely returned alive from hard labor, where he ended up for having buried a sadistic manager together with the village peasants. He still "bends, but does not break, does not break, does not fall." Matrena Timofeevna calls him happy with such a terrible fate. Savely's happiness is in suffering for a just cause. He did not live his life in vain, he did not become a slave.
Ermil Girin was the headman. It would seem that he had everything for happiness: "calmness, and money, and honor," but Yermil began to defend the peasants and ended up in prison. Peasants are changing their understanding of happiness:
I don't need any silver
No gold, but God forbid
So that my countrymen
And every peasant
Life was easy, fun
All over holy Russia!
For the peasant, happiness is the absence of unhappiness. The peasants are glad that they “give rye bread”, that their brother returned home alive, they rejoice at their success in hunting; the old woman is glad that she is not yet in danger of starvation, because "up to a thousand turnips were born on a small ridge."
The landowners Obolt-Obolduev and Utyatin-prince recall the serfdom and regret that these times are over. They would like, as before, to feast for a month on their estates. They especially grieve about their complete impunity in those days:
Whom I want - I have mercy
Whoever I want, I'll execute.
Law is my wish!
The fist is my police!
Nekrasov sums up the search for his heroes, formulating a standard people's happiness. This is not wealth, but wealth, which can be achieved by honest work. This is a joyful work for the benefit of the family and the people. This is a clear conscience, respect for people, compassion and love. The writer clarifies that true happiness is possible only in a free society. He hopes such times will come someday:
More Russian people
No limits set:
Before him is a wide path.
Raskolnikov's theory and its debunking in F. M. Dostoevsky's novel "Crime and Punishment"
Former student Rodion Romanovich Raskolnikov - main character"Crime and Punishment", one of the most famous novels by Fyodor Mikhailovich Dostoevsky. The surname of this character tells the reader a lot: Rodion Romanovich is a man with a split consciousness. He invents his own theory of dividing people into two "categories" - into "higher" and "trembling creatures." Raskolnikov describes this theory in a newspaper article "On Crime". According to the article, the “higher ones” are given the right to transcend moral laws and, in the name of a great goal, sacrifice any number of “trembling creatures”. Raskolnikov considers the latter only material for reproducing his own kind. It is these "ordinary" people who, according to Rodion Romanovich, need biblical commandments and morality. The "higher ones" are the "new legislators" for the gray masses. For Raskolnikov, the main example of such a “legislator” is Napoleon Bonaparte: “... the real ruler, who is allowed everything, smashes Toulon, massacres in Paris, forgets the army in Egypt, loses half a million people in the Moscow campaign and gets off with a pun in Vilna; and to him, after death, idols are set up - and therefore, everything is allowed.
Meanwhile, Raskolnikov himself lives in the attic in a miserable closet and has already reached the extreme poverty line. He is forced to pawn the last things of any value to the pawnbroker Alena Ivanovna. Raskolnikov considers the evil old pawnbroker a “louse”, which, according to his theory, he can crush without any pity. Rodion Romanovich is sure that Alena Ivanovna’s money can benefit all of humanity if it helps him, the “new legislator”, overcome poverty and start new life. In addition, these funds could serve the distressed mother and humiliated sister of Raskolnikov. Therefore, Rodion Romanovich, instead of following the advice of his comrade Razumikhin and honestly earning money by translating from French, decides to commit a crime.
Murder seems to Raskolnikov a much simpler way out of a difficult financial situation. However, in this decision to turn into a bloody criminal, the main role is played by no means by money, but by Raskolnikov's crazy idea. By all means, he must test his theory and make sure that he is not a "trembling creature." To do this, you need to "step over" the corpse and reject universal moral laws.
In the novel, Rodion Romanovich is shown as a person who is not only engulfed by an idea, but also able to sometimes look around and empathize with the outcasts. This is clearly seen from the episode in which he donates the last money for a doctor for Marmeladov crushed by a horse. Raskolnikov vividly sympathizes with the family of this drunken official and subsequently even finds spiritual closeness with Marmeladov's daughter, Sonya, who is forced to earn money on the panel.
After hacking to death the pawnbroker Alena Ivanovna and her half-sister Lizaveta, Rodion Romanovich discovers that he can no longer communicate normally with people. It begins to seem to him that everyone around knows about his act and subtly mock him. In the novel, with subtle psychologism, it is shown how, under the influence of this erroneous belief, Raskolnikov begins to play along with his "accusers". For example, he deliberately starts a conversation about the murder of an old pawnbroker with Zametov, the clerk of the police office. These strange impulses of a poor student help the bailiff of investigative affairs, Porfiry Petrovich, to guess the identity of the real criminal. The investigator has no real evidence, but Rodion Romanovich has already been “brought to condition” - he is seized with panic and is looking for participation from Sonya Marmeladova.
Raskolnikov realizes that his theory has proved untenable, now he indulges in the perverse pleasure of self-abasement. But Sonya gives the desperate criminal a new life guide - she reads him a biblical parable about the resurrection of Lazarus. Soon Raskolnikov finally abandons his former way of thinking. His crime is revealed, but this no longer frightens Rodion Romanovich - he decides to independently repent of his deed and accept the well-deserved punishment.
The debunking of Raskolnikov's theory takes place gradually, each new plot twist makes it less and less consistent. Fyodor Mikhailovich Dostoevsky led his hero to the light through a delusion that reached its peak - and the great writer managed to recreate this difficult path extremely convincingly. No wonder the psychological reliability of the gradual collapse of Raskolnikov's idea made the novel "Crime and Punishment" a classic of world literature.
The image of Sonya Marmeladova in the novel by F. M. Dostoevsky "Crime and Punishment"
Sonya Marmeladova is the heroine of Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment. Poverty and extremely hopeless marital status force this young girl to earn money on the panel.
The reader first learns about Sonya from the story addressed to Raskolnikov by the former titular adviser Marmeladov - her father. The alcoholic Semyon Zakharovich Marmeladov vegetates with his wife Katerina Ivanovna and three small children - his wife and children are starving, Marmeladov drinks. Sonya - his daughter from his first marriage - lives in a rented apartment "on a yellow ticket." Marmeladov explains to Raskolnikov that she decided to make such an income, unable to withstand the constant reproaches of her consumptive stepmother, who called Sonya a parasite who "eats and drinks and uses heat." In fact, this is a meek and unrequited girl. With all her might, she tries to help the seriously ill Katerina Ivanovna, the starving half-sisters and brother, and even her unlucky father. Marmeladov tells how he found and lost a job, drank away a new uniform bought with his daughter's money, after which he went to ask her "for a hangover." Sonya didn’t reproach him for anything: “I took out thirty kopecks, with my own hands, the last, I saw everything that happened ... She didn’t say anything, she just looked at me silently.”
The author gives the first description of Sofya Semyonovna later, in the scene of the confession of Marmeladov crushed by a horse and living out his last minutes: “Sonya was small, eighteen years old, thin, but pretty pretty blonde, with wonderful blue eyes.” Upon learning of the incident, she resorts to her father in her “work clothes”: “her outfit was a penny, but decorated in a street style, according to the taste and rules that have developed in her special world, with a bright and shamefully outstanding goal.” Marmeladov dies in her arms. But even after that, Sonya sends her younger sister Polenka to catch up with Raskolnikov, who donated his last money for the funeral, in order to find out his name and address. Later, she visits the "benefactor" and invites him to her father's wake.
Another touch to the portrait of Sonya Marmeladova is her behavior during the incident at the wake. She is undeservedly accused of stealing, and Sonya does not even try to defend herself. Justice is soon restored, but the incident itself drives her to hysteria. The author explains this by the life position of her heroine: “Sonya, timid by nature, knew before that it was easier to destroy her than anyone else, and anyone could offend her almost with impunity. But still, until this very moment, it seemed to her that she could somehow avoid trouble - caution, meekness, humility before everyone and everyone.
After a scandal at the wake, Katerina Ivanovna and her children are deprived of their homes - they are expelled from a rented apartment. Now all four are doomed to an early death. Realizing this, Raskolnikov invites Sonya to say what she would do if she had the power to take the life of Luzhin, who slandered her, in advance. But Sofya Semyonovna does not want to answer this question - she chooses obedience to fate: “But I can’t know God’s providence ... And why are you asking, what shouldn’t be asked? Why such empty questions? How can it happen that it depends on my decision? And who put me here as a judge: who will live, who will not live?
The image of Sonya Marmeladova is necessary for the author to create a moral counterweight to the idea of Rodion Raskolnikov. Raskolnikov feels a kindred spirit in Sonya, because they are both outcasts. However, unlike the ideological killer, Sonya is “a daughter, like an evil and consumptive stepmother, she betrayed herself to strangers and minors.” She has a clear moral guideline - the biblical wisdom of purifying suffering. When Raskolnikov tells Marmeladova about his crime, she pities him and, pointing to the biblical parable of the resurrection of Lazarus, convinces him to repent of his deed. Sonya intends to share with Raskolnikov the vicissitudes of hard labor: she considers herself guilty of violating the biblical commandments and agrees to “suffer” in order to be cleansed.
It is noteworthy that the convicts who served their sentences with Raskolnikov feel a burning hatred for him and at the same time love Sonya visiting him very much. Rodion Romanovich is told that "walking with an ax" is not a master's business; they call him an atheist and they even want to kill him. Sonya, following her once and for all established concepts, does not look down on anyone, she treats all people with respect - and the convicts reciprocate her.
Sonya Marmeladova is one of the most important characters in the book. Without her life ideals, the path of Rodion Raskolnikov could only end in suicide. However, Fyodor Mikhailovich Dostoevsky offers the reader not only the crime and punishment embodied in the protagonist. Sonya's life leads to repentance and purification. Thanks to this "continuation of the path", the writer managed to create a coherent, logically complete world of his great novel.
Rodion Raskolnikov and Sonya Marmeladova in F. M. Dostoevsky's novel "Crime and Punishment"
The impoverished and degraded student Rodion Romanovich Raskolnikov - central character landmark novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment". The image of Sonya Marmeladova is necessary for the author to create a moral counterweight to Raskolnikov's theory. Young heroes are in a critical life situation, when it is necessary to make a decision how to live on.
From the very beginning of the story, Raskolnikov behaves strangely: he is suspicious and anxious. The reader penetrates into the sinister plan of Rodion Romanovich gradually. It turns out that Raskolnikov is a "monoman", that is, a person obsessed with a single idea. His thoughts come down to one thing: by all means, he must test in practice his theory of dividing people into two "categories" - into "higher" and "trembling creatures." Raskolnikov describes this theory in a newspaper article "On Crime". According to the article, the “higher ones” are given the right to transcend moral laws and, in the name of a great goal, sacrifice any number of “trembling creatures”. Raskolnikov considers the latter only material for reproducing his own kind. It is these "ordinary" people who, according to Rodion Romanovich, need biblical commandments and morality. The "higher ones" are the "new legislators" for the gray masses. For Raskolnikov, the main example of such a “legislator” is Napoleon Bonaparte. Rodion Romanovich himself is forced to begin his path of the "higher" with deeds of a completely different scale.
We first learn about Sonya and her life circumstances from the story addressed to Raskolnikov by the former titular adviser Marmeladov - her father. The alcoholic Semyon Zakharovich Marmeladov vegetates with his wife Katerina Ivanovna and three small children - his wife and children are starving, Marmeladov drinks. Sonya - his daughter from his first marriage - lives in a rented apartment "on a yellow ticket." Marmeladov explains to Raskolnikov that she decided to make such an income, unable to withstand the constant reproaches of her consumptive stepmother, who called Sonya a parasite who "eats and drinks and uses heat." In fact, this is a meek and unrequited girl. With all her might, she tries to help the seriously ill Katerina Ivanovna, the starving half-sisters and brother, and even her unlucky father. Marmeladov tells how he found and lost a job, drank away a new uniform bought with his daughter's money, after which he went to ask her "for a hangover." Sonya didn’t reproach him for anything: “I took out thirty kopecks, with my own hands, the last, I saw everything that happened ... She didn’t say anything, she just looked at me silently.”
Raskolnikov and Sonya are on the same disastrous standard of living. The “future Napoleon” lives in the attic in a miserable closet, which the author describes in the following words: “It was a tiny cell, about six paces long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the walls, and so low that a slightly tall man felt terrified in it, and it seemed that you were about to hit your head on the ceiling. Rodion Romanovich has reached the extreme line of poverty, but in this position he seems to have a strange grandeur: “It was difficult to lower yourself and become sloppy; but Raskolnikov was even pleased in his present state of mind.
Rodion Romanovich considers murder to be a simple way out of a difficult financial situation. However, in this decision to turn into a bloody criminal, the main role is played by no means by money, but by Raskolnikov's crazy idea. First of all, he seeks to test his theory and make sure that he is not a "trembling creature." To do this, you need to "step over" the corpse and reject universal moral laws.
The evil old pawnbroker Alena Ivanovna was chosen as the victim of this moral experiment. Raskolnikov considers her a “louse”, which, according to his theory, he can crush without any pity. But, having cut Alena Ivanovna and her half-sister Lizaveta to death, Rodion Romanovich suddenly discovers that he can no longer communicate normally with people. It begins to seem to him that everyone around knows about his act and subtly mock him. In the novel, with subtle psychologism, it is shown how, under the influence of this erroneous belief, Raskolnikov begins to play along with his "accusers". For example, he deliberately starts a conversation about the murder of an old pawnbroker with Zametov, the clerk of the police office.
At the same time, Raskolnikov is still able from time to time to be distracted from his rich inner life and pay attention to what is happening around him. So, he becomes a witness to an accident with Semyon Marmeladov - a drunken official falls under a horse. In the scene of the confession of Marmeladov, crushed and living out his last minutes, the author gives the first description of Sofya Semyonovna: “Sonya was small, about eighteen years old, thin, but pretty pretty blonde, with wonderful blue eyes.” Upon learning of the incident, she resorts to her father in her “work clothes”: “her outfit was a penny, but decorated in a street style, according to the taste and rules that have developed in her special world, with a bright and shamefully outstanding goal.” Marmeladov dies in her arms. But even after that, Sonya sends her younger sister Polenka to catch up with Raskolnikov, who donated his last money for the funeral, in order to find out his name and address. Later, she visits the "benefactor" and invites him to her father's wake.
This peaceful event is not complete without a scandal: Sonya is unfairly accused of stealing. Despite the successful outcome of the case, Katerina Ivanovna and her children are deprived of their homes - they are expelled from a rented apartment. Now all four are doomed to an early death. Realizing this, Raskolnikov invites Sonya to say what she would do if she had the power to take the life of Luzhin, who slandered her, in advance. But Sofya Semyonovna does not want to answer this question - she chooses obedience to fate: “But I can’t know God’s providence ... And why are you asking, what shouldn’t be asked? Why such empty questions? How can it happen that it depends on my decision? And who put me here as a judge: who will live, who will not live?
Despite his alien beliefs, Raskolnikov feels a kindred spirit in Sonya, because they are both outcasts. He seeks her sympathy, because he understands that his theory was untenable. Now Rodion Romanovich indulges in the perverted pleasure of self-abasement. However, unlike the ideological killer, Sonya is “a daughter, like an evil and consumptive stepmother, she betrayed herself to strangers and minors.” She has a clear moral guideline - the biblical wisdom of purifying suffering. When Raskolnikov tells Marmeladova about his crime, she pities him and, pointing to the biblical parable of the resurrection of Lazarus, convinces him to repent of his deed. Sonya intends to share with Raskolnikov the vicissitudes of hard labor: she considers herself guilty of violating the biblical commandments and agrees to “suffer” in order to be cleansed.
An important feature for characterizing both characters: the convicts who served their sentences with Raskolnikov feel a burning hatred for him and at the same time love Sonya visiting him very much. Rodion Romanovich is told that "walking with an ax" is not a master's business; they call him an atheist and they even want to kill him. Sonya, following her once and for all established concepts, does not look down on anyone, she treats all people with respect - and the convicts reciprocate her.
A logical conclusion from the relationship of this pair of central characters of the novel: without Sonya's life ideals, Raskolnikov's path could only end in suicide. Fyodor Mikhailovich Dostoevsky offers the reader not only the crime and punishment embodied in the protagonist. Sonya's life leads to repentance and purification. Thanks to this “continuation of the path”, the writer managed to create a coherent, logically complete system of images. Looking at what is happening from two significantly different points of view gives the action additional volume and persuasiveness. The great Russian writer managed not only to breathe life into his heroes, but also to lead them to the successful resolution of the most difficult conflicts. This artistic completeness puts the novel "Crime and Punishment" on a par with greatest novels world literature.
The image of Rodion Raskolnikov in the novel by F. M. Dostoevsky "Crime and Punishment"
In the world famous novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment", the image of Rodion Raskolnikov is central. The reader perceives what is happening precisely from the point of view of this character - an impoverished and degraded student.
Already on the first pages of the book, Rodion Romanovich behaves strangely: he is suspicious and anxious. Small, completely insignificant, it would seem, incidents he perceives very painfully. For example, on the street, he is frightened by the attention to his hat - and Raskolnikov immediately decides to replace the headdress.
The reader penetrates into the sinister plan of Rodion Romanovich gradually. It turns out that Raskolnikov is a "monoman", that is, a person obsessed with a single idea. His thoughts boil down to one thing: by all means, he must test in practice his theory of dividing people into two "categories" - into "higher" and "trembling creatures." Rodion expresses his views in the newspaper article "On Crime". In it, the hero explains that the “higher ones”, driven by a great goal, have every right to defy moral laws and sacrifice any number of “trembling creatures”. The “inferior” are presented to the hero as material for the reproduction of the human race and nothing more. It is these "ordinary" people who, according to Rodion Romanovich, need religion. At the same time, the “higher ones” become “new legislators” for everyone else; the restraining component of the biblical commandments is not necessary for them. For Raskolnikov, the main example of such a “legislator” is Napoleon Bonaparte. Despite this, Rodion Romanovich is forced to begin his path of the "higher" with deeds that are noticeably different from the deeds of the famous French emperor.
The living conditions of the future Napoleon are noteworthy. Raskolnikov lives in a wretched little room in the attic. “It was a tiny cell, about six paces long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the walls, and so low that a slightly tall person became terribly in it, and everything seemed to you hit your head on the ceiling."
Rodion is forced to pawn the last things to Alena Ivanovna, a pawnbroker. He reduced himself to extreme poverty. Nevertheless, this state of affairs does not burden our hero too much. He sees a strange greatness in poverty: but Raskolnikov was even pleased in his present state of mind.
Raskolnikov considers the evil old pawnbroker, who has power over him and on whom he actually depends, to be a “louse”. And the louse, according to the hero theory, can be crushed without any pity. Rodion Romanovich is sure that Alena Ivanovna's money can benefit all of humanity. In this case, he is ready to speak on behalf of all people: the money received will help him, the “new legislator”, overcome poverty and start a new life. In addition, these funds could serve the distressed mother and humiliated sister of Raskolnikov. Therefore, Rodion Romanovich, instead of following the advice of his comrade Razumikhin and honestly earning money by translating from French, decides to commit a crime. Murder seems to Raskolnikov the simplest and most reasonable way out of a difficult financial situation. And most importantly, justified by a whole theory. main role in the decision to turn into a criminal, it is not money that plays, but Raskolnikov's crazy idea. First of all, he seeks to test his theory and make sure that he is not a "trembling creature." To do this, you need to conduct a monstrous experiment - to "step over" the corpse and reject the universal moral laws.
No matter how harmonious Raskolnikov's theory is, the experiment gives an unexpected side effect for the hero. Only after Rodion Romanovich hacked to death the pawnbroker and her half-sister Lizaveta, he suddenly realizes that he can no longer communicate with people the way he used to. Even with "trembling creatures." It begins to seem to him that everyone around knows about his misdeed and they scoff at him with all their might. In the novel, with subtle psychologism characteristic of Dostoevsky, it is shown how, under the influence of this erroneous belief and pangs of conscience, Raskolnikov begins to play along with his "accusers". For example, he deliberately starts a conversation about the murder of an old pawnbroker with Zametov, the clerk of the police office. These strange impulses of a poor student help the bailiff of investigative affairs, Porfiry Petrovich, to guess the identity of the real criminal. The investigator has no direct evidence, but Rodion Romanovich is already panic-stricken and eventually goes to confession.
Raskolnikov, overcome by pangs of conscience, finally realizes that his theory has proved untenable. He begins to indulge in self-abasement and self-criticism. Rodion Romanovich seeks sympathy from Sonya Marmeladova, the daughter of a drunken official who is forced to earn money on the panel. But Sonya, a definitely vicious woman, a sinner, gives the desperate criminal a new life guide - she reads to him the biblical parable about the resurrection of Lazarus. It is this act that saves Raskolnikov - he finally breaks with his former way of thinking. The fact that the crime has been solved no longer frightens Rodion. He decides to independently repent of his deed and accept the well-deserved punishment.
In the novel, Rodion Romanovich is depicted as a person who is not only seized with an idea, but also able to sometimes look around and empathize with the outcasts. This is clearly seen from the episode in which he donates the last money for a doctor for Semyon Marmeladov crushed by a horse. From the first pages of the book, Raskolnikov vividly sympathizes with the family of this unfortunate drunkard.
With the same trepidation, Rodion Romanovich treats the fate of his sister Dunya, who, due to poverty, is going to enter into a deliberately unequal marriage. However, Raskolnikov is prevented from looking at the problems of loved ones with genuine participation by overlapping all his own spiritual torments.
Fyodor Mikhailovich Dostoevsky created a unique image of an ideological criminal who fully realized his tragic error. Thoughts, feelings and even fleeting impulses of Raskolnikov are described scrupulously and truly authentically. The great Russian writer managed to achieve an amazing result: he convinced the whole planet that Rodion Raskolnikov is not just a character. All mankind sympathizes with the life drama of a repentant murderer. Largely due to the psychologically verified central image The novel "Crime and Punishment" is considered one of the pinnacles of world realistic literature.
Natasha Rostova - the favorite heroine of L. N. Tolstoy
Leo Tolstoy is a recognized master of creating psychological images. In each case, the writer is guided by the principle: “Who is more human?” Whether his hero lives a real life or is devoid of a moral principle and is spiritually dead.
In the works of Tolstoy, all the characters are shown in the evolution of characters. Women's images are somewhat schematic, but this manifested the attitude towards women that has developed over the centuries. In a noble society, a woman had the only task - to give birth to children, to multiply the class of nobles. At first, the girl was a beautiful doll, which was kept locked up until marriage, then a forced marriage by agreement of her parents, balls, secular gossip, rapid old age and death awaited her. Tolstoy tries to penetrate spiritual world their heroines, to show the maturation of the soul, experiences, joys and sorrows of their lives.
The most vivid and lively image in the novel is Natasha Rostova, depicted with the author's great sympathy. Leo Tolstoy also forces readers to admire the ardent, impulsive, cheerful, charming girl. Natasha appears in the novel on one and a half thousand pages, and her life can be traced for fifteen years. She is first seen in the book at the age of thirteen, when a teenage girl turns into a girl. This is a spiritualized nature, full of a thirst for happiness.
Tolstoy shows all the stages of the spiritual development of Natasha Rostova: childhood, youth, maturity, marriage, motherhood. The path of development of the heroine, her evolution takes place in the sphere of feelings. The author depicts a heroine with a generous soul, her direct perception of the world and her attitude towards it. The image of Natasha Rostova can be attributed to the artistic discoveries of the writer. He saw in the girl spiritual wealth, humanity, true, without pretense, attitude towards people, nature. Everyone loves Natasha for her sincerity and charm. Servants and peasants on the estate call her "Cossack Countess". She loves everything folk, Russian: songs, dances. With these qualities, she sharply differs from the cutesy, hypocritical women of Russian noble society, who are shocked by her spiritual impulses, her ability to act at the behest of her heart. Pierre Bezukhov is at a loss when Princess Marya asks him to tell about Natasha: “I absolutely do not know what kind of girl this is; I can't analyze it at all. She is charming. And why, I don’t know: that’s all that can be said about her.
Describing the portrait of Natasha, Tolstoy emphasizes that she is not always beautiful: "Black-eyed, with a big mouth, ugly, but a lively girl." The appearance of the heroine depends on her internal state. When her soul is bad, she can be simply bad, but, beaming with happiness, she will change dramatically. The secret of her charm is in the powerful force of life that comes from her. In one day of the name day, she manages to feel so much that another girl would have had enough for a long time. Natasha wants to participate in everything, to be in time everywhere, to experience stormy joy from life. But the main thing is that she wants to see others happy as well. The truthful, benevolent atmosphere in the Rostovs' house, where everyone loved and understood each other, made her so.
As a person with a living soul, Natasha is very artistic. Everyone admires the rich facial expressions of her face, the reflection of her feelings, her beautiful voice, her smile, the sparkle and light of her eyes, the expressiveness of her speech.
Leading Natasha through life, Tolstoy confronts her with the high society in which she will have to live. A pure, kind, sympathetic girl turns out to be defenseless against a deceitful, vile light. Bored, empty and soulless Helen, for her own amusement, decided to bring Natasha together with her brother Anatole Kuragin. Helen undertook to teach the inexperienced girl the laws of secular morality. She explained that loving someone and even being a bride does not mean "living as a nun." Helen believed in what she said, so Natasha, what “before seemed scary, seemed simple and natural.” The writer shows that a black and evil soul can be hidden in an outwardly beautiful person. The story with Kuragin ended for Natasha with pangs of conscience, humiliation, and suffering. Tolstoy speaks of the corrupting influence of the upper world, which “drowned out in Natasha better feelings", which dulled her "mind and heart." But Natasha emerged from these trials matured, having learned to distinguish truth from lies. Thus ended her youth.
The beginning of the Patriotic War of 1812 opens a new page in the life of Tolstoy's heroine. Man is tested during severe trials. Natasha showed herself as a true patriot of Russia. During the departure of the Rostov family from Moscow, Natasha ensured that the carts were given to transport wounded soldiers, and a hospital was located in their house. The heroine of Tolstoy, at the call of her heart, visits the dying Prince Andrei. After the death of Bolkonsky, Natasha experiences deep grief, cannot even communicate with her loved ones.
In the epilogue, Tolstoy shows us Natasha seven years later, when she became the wife of Pierre Bezukhov and the mother of four children. The writer emphasizes the contrast between an empty secular life and a family life full of high meaning. Natasha is calm and self-confident, she is an ideal wife and mother. Her soul remained the same, it still has the same sensitivity, understanding, attention to the social life of her husband. Tolstoy was convinced that raising children and taking care of the family is the most important thing in the life of society and no one will do it better, wiser than a woman does.
The image of Princess Marya in the novel by L. N. Tolstoy "War and Peace"
In the epic novel "War and Peace", Leo Nikolayevich Tolstoy skillfully portrayed several female images. The writer tried to delve into the mysterious world of the female soul, to determine the moral laws of the life of a noblewoman in Russian society. One of the complex images was the sister of Prince Andrei Bolkonsky, Princess Marya.
The prototypes of the images of the old man Bolkonsky and his daughter were real people. This is Tolstoy's grandfather, N. S. Volkonsky, and his daughter, Maria Nikolaevna Volkonskaya, who was no longer young and lived incessantly in Yasnaya Polyana with her father and a French companion. Much is the same in character and in appearance heroes. Prince Volkonsky was proud, power-hungry, led a secluded life, despised the whole world. Marya Nikolaevna had an ugly appearance and "radiant eyes." She was given in marriage to Tolstoy's father by matchmaking.
Princess Mary in the novel is an artistic image, so there cannot be a complete match with the prototype. She is shown as a meek and gentle girl, far from the life of high society, and therefore uncorrupted. In creating this image, Tolstoy acts as a subtle psychologist and realist. He writes about the most intimate and secret thoughts of the princess, such that she herself is frightened.
Her father, Nikolai Andreevich Bolkonsky, in the past an influential Catherine's nobleman, was exiled to his estate Lysyye Gory during the reign of Tsar Paul I. A man with a difficult character, he turned his daughter into a servant and nurse, "jamming her age." The prince constantly brings his daughter to tears, humiliates her, mocks her, throwing notebooks and calling her a fool. He is a despotic and evil man, a capricious egoist. Only on the verge of death did the old prince realize how unfair he had been to his daughter.
Despite complete isolation and subordination, even slavery, Princess Marya lives in constant expectation of love and the desire to have a family. The girl knows that she is ugly, and is very worried. Tolstoy draws her portrait: “The mirror reflected an ugly, weak body and a thin face<…>the princess's eyes, large, deep and radiant (as if rays of warm light sometimes came out of them in sheaves), were so good that very often, despite the ugliness of the whole face, these eyes became more attractive than beauty. The soul of the princess was beautiful, like her eyes, which shone with kindness and tenderness. Because of her appearance, the princess suffers humiliation. She is unable to forget the scandalous matchmaking for her of the secular libertine Anatole Kuragin, who at night called the French companion Bourienne for a date. The princess forgave everyone, treated everyone equally well: peasants, relatives, father, brother, daughter-in-law, nephew, Natasha Rostova.
The heroine, despite the difficult fate, dreams of simple human happiness. According to Tolstoy, any woman lives in constant expectation of love: "This feeling was the stronger, the more she tried to hide it from others and even from herself." In the spirit of Christian morality, instilled in all women almost from birth, Princess Mary considered even thoughts of love to be a temptation of the devil. She would like to give up “forever from evil thoughts, in order to calmly do the will” of God.
Complete dependence on her father, terrible thoughts about his death, mental anguish over this cause Princess Marya to seek consolation in religion, but her religiosity is true, coming from the purity of her soul. She tries to humbly endure the insults of her father, finding strength in helping an old and sick person. Christian humility pushes her onto the path of doing good deeds. Princess Mary, helping the poor, begins to feel needed and useful. Gradually, the beauty of the soul and the strength of the character of this girl, the integrity of her nature and fortitude in resolving issues are revealed.
With the onset of the French, Princess Mary has to deal with the affairs of the peasants belonging to her family herself. With all her heart she wants to help the peasants when she learns from the elder Dron about the plight of the peasants. Even before she learned that the peasants had conspired to stay with the French, she decides to help them and divide between them all the stocks of grain stored in Bogucharovo. Princess Mary showed herself to be a true patriot when she proudly refused the offer of her French companion to stay with the French. The unshakable honesty of the representatives of the Bolkonsky family comes through in her character.
Suffering and loneliness taught Princess Mary to think. She is shown as a rare intelligent woman among the nobility. She alone understood the danger fraught with a rich inheritance suddenly received by Pierre.
It would seem that Princess Mary is a provincial young lady, but before us is a strong person, fearlessly looking into the face of danger. The hussar Nikolenka Rostov saves her from her enemies. The author describes a long courtship, the emergence of mutual feelings and, finally, a wedding and a happy marriage. family life this couple. Princess Mary is smart, selflessly loves her husband and exerts an ennobling influence on him. The rich inner world is also reflected in the diaries of the princess dedicated to children.
There is much more truth to life in the image of Princess Mary than in other characters in the novel. It is interesting to follow the development of her fate, her suffering causes respect, and her actions are understandable and fair. Love and family became her reward and the highest value in life.
The image of Helen Kuragina in the novel by L. N. Tolstoy "War and Peace"
Leo Tolstoy in his works tirelessly proved that public role women are exceptionally great and beneficent. 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 images of Natasha Rostova and Princess Marya, the writer showed women rare for the then secular society, the best representatives of the noble environment early XIX 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.
Positive images of women from the nobility acquire even greater relief, psychological and moral depth against the background of the image of Helen Kuragina and in contrast with it. Drawing this image, the author did not spare colors in order to clearly highlight all its negative features.
Helen Kuragina is a typical representative of high society salons, a daughter of her time and class. Her beliefs and demeanor were largely dictated by the position of a woman in a noble society, where a woman played the role of a beautiful doll that needed to be married on time and successfully, and no one asked her opinion on this matter. The main occupation is to shine at balls and give birth to children, multiplying the number of Russian aristocrats.
Tolstoy sought to show that external beauty does not mean inner, spiritual beauty. Describing Helen, the author gives her appearance sinister features, as if the very beauty of the face and figure of a person already contains sin. Helen belongs to the light, she is its reflection and symbol.
Hastily married off by her father to the ridiculous Pierre Bezukhov, who suddenly became rich, who is accustomed to despise in society as an illegitimate child, Helen does not become either a mother or a mistress. She continues to lead an empty secular life, which suits her perfectly.
The impression that Helen makes on readers at the beginning of the story is admiration for her beauty. Pierre from afar admires her youth and splendor, she is admired by both Prince Andrei and everyone around him. “Princess Helene smiled, she got up with the same unchanging smile, completely beautiful woman with whom she entered the living room. Slightly noisy in her white ball gown trimmed with ivy and moss, and shining with the whiteness of her shoulders, with the gloss of her hair and diamonds, she walked straight between the parting men, not looking at anyone, but smiling at everyone and, as if kindly giving everyone the right to admire the beauty of her figure. , full shoulders, very open, according to the then fashion, chest and back, as if bringing with them the splendor of the ball.
Tolstoy emphasizes the lack of facial expressions on the face of the heroine, her always “monotonously beautiful smile”, which hides the inner emptiness of the soul, immorality and stupidity. Her "marble shoulders" give the impression of a delightful statue, not a living woman. Tolstoy does not show her eyes, which, apparently, do not reflect feelings. Throughout the whole novel, Helen was never frightened, not happy, did not feel sorry for anyone, did not feel sad, did not suffer. She loves only herself, thinks about her own benefits and conveniences. This is exactly what everyone in the Kuragin family thinks, where they do not know what conscience and decency are. Driven to despair, Pierre tells his wife: “Where you are, there is debauchery, evil.” This accusation can be applied to the whole secular society.
Pierre and Helen are opposite in beliefs and character. Pierre did not love Helen, he married her, struck by her beauty. Out of the kindness of his heart and sincerity, the hero fell into the nets cleverly placed by Prince Vasily. Pierre has a noble, sympathetic heart. Helen is cold, prudent, selfish, cruel and dexterous in her social adventures. Her nature is precisely defined by Napoleon's remark: "This is a beautiful animal." The heroine enjoys her dazzling beauty. To be tormented by torment, Helen will never repent. This, according to Tolstoy, is her biggest sin.
Helen always finds an excuse for her psychology of a predator that captures a prey. After Pierre's duel with Dolokhov, she lies to Pierre and thinks only about what they will say about her in the world: “What will this lead to? To make me the laughingstock of all Moscow; so that everyone would say that you, in a drunken state, not remembering yourself, challenged to a duel a person whom you are jealous of without reason, who is better than you in every respect. Only this worries her, in the world of high society there is no place for sincere feelings. Now the heroine already seems ugly to the reader. The events of the war revealed the ugly, soulless beginning that has always been Helen's essence. The beauty given by nature does not bring happiness to the heroine. Happiness must be earned through spiritual generosity.
The death of Countess Bezukhova is as stupid and scandalous as her life. Entangled in lies, intrigues, trying to marry two applicants at once with her husband alive, she mistakenly takes a large dose of medicine and dies in terrible agony.
The image of Helen significantly complements the picture of the mores of the high society of Russia. Creating it, Tolstoy showed himself to be a wonderful psychologist and a fine connoisseur of human souls.
Kutuzov and Napoleon as two moral poles in Leo Tolstoy's novel "War and Peace"
The very title of Tolstoy's novel "War and Peace" speaks of the scale of the topic under study. Writer created historical novel in which major events in world history are comprehended, and their participants are real historical figures. These are the Russian Emperor Alexander I, Napoleon Bonaparte, Field Marshal Kutuzov, Generals Davout and Bagration, Ministers Arakcheev, Speransky and others.
Tolstoy had his own specific view of the development of history and the role of the individual in it. He believed that a person can only influence the course of the historical process when his will coincides with the will of the people. Tolstoy wrote: "Man consciously lives for himself, but serves as an unconscious tool for achieving historical, universal goals." At the same time, the writer was a fatalist. In his opinion, everything that happens to humanity is programmed from above. This is how the inexorable law of historical necessity is fulfilled.
The positive and negative poles of the war of 1812 are Kutuzov and Napoleon. In the novel, there is no complete coincidence of the characters of these characters with real people. For example, Tolstoy exaggerated the senile passivity of Kutuzov and the narcissism of Napoleon, but he did not seek to create reliable images. The author applies strict moral criteria in evaluating both, trying to figure out whether Napoleon is really a great commander.
Tolstoy deliberately gives an ironic portrait of Napoleon: “fat thighs of short legs”, “a fat short figure”, fussy movements. He is limited and narcissistic, confident in his genius. For him, "only what happened in his soul" is important, "... and everything that was outside of him did not matter to him, because everything in the world depended only on his will." Napoleon is depicted by Tolstoy as an invader who, in order to achieve world domination, kills thousands of people. He takes majestic poses, not realizing that "the king is a slave of history", he mistakenly thinks that he started the war. In fact, he is only a toy in the hands of history. Tolstoy writes that Napoleon would hardly have survived this sad and difficult test of fate if his mind and conscience had not been darkened.
The inner world of Napoleon consists of illusions about his own greatness. He wants to impose his will on the whole world and does not understand that this is impossible. He calls his own cruelty courage, loves to "consider the dead and wounded, thereby testing his spiritual strength (as he thought)." When crossing the Neman, Napoleon looks with displeasure at the drowning Polish lancers who give their lives for his glory. He sees nothing surprising in the death of people. Tolstoy emphasizes that Napoleon is an unfortunate, “morally blind” person who no longer distinguishes between good and evil. Tolstoy points to Napoleon's responsibility to the peoples he led: “Destined by Providence for the sad, unfree role of the executioner of peoples, he assured himself that the goal of his actions was the good of the peoples and that he could direct the destinies of millions and do good deeds through power! .. He imagined that by his will there was a war with Russia, and the horror of what had happened did not strike his soul.
Field Marshal Mikhail Illarionovich Kutuzov, His Serene Highness Prince Smolensky, is the antipode of Napoleon in everything. He is the embodiment of "simplicity, goodness and truth." Kutuzov is endowed with the greatest wisdom, he believes: what should happen will happen. In the novel, Tolstoy shows Kutuzov's inaction, meaning that one person cannot influence the course of historical events. On the other hand, the Russian commander understands better than Tsar Alexander the First and all his generals what position the country is in and how the decisive battle can end. Kutuzov at the council of the military sees only ostentatious patriotism, hears false speeches. He understands that Napoleon has more troops, that the Russians will inevitably lose, and this will be a shameful end for the country.
Kutuzov's main idea before the battle of Borodino was how to raise the morale of the army. He understands his people, he knows that this is the only force capable of resisting the enemy. The cowardly tsarist generals were already ready to sell themselves to Napoleon. Kutuzov alone understands that in the event of a defeat, the people will lose their homeland, lose their freedom, turn into slaves in their native land.
The author portrays the great commander as a living, deeply feeling person. He can worry, be angry, be magnanimous, sympathize with grief. With soldiers who are ready to give their lives for him, he speaks like a father, in a language they understand. “They will eat horse meat from me!” - he says about the French and fulfills this prophecy of his. Prince Andrei sees tears in the eyes of the old man in moments of emotional excitement for the fate of Russia: “To what ... to what they brought! Kutuzov suddenly said in an excited voice.
At the council in Fili, Kutuzov courageously spoke out alone against everyone, proposing to surrender Moscow. This decision cost him a lot of mental anguish. The capital of Russia then was not Moscow, but Petersburg. The king and all the ministries were there. Moscow was the Mother See of the city, tsars were crowned there, and a large population lived.
The armies of the opponents were approximately equal in strength, but Kutuzov correctly calculated the situation. He decided not to risk and retreat, hoping to buy time and gain strength. After the retreat, soldiers were quickly recruited and trained. From the Tula factories they supplied weapons, stocked provisions and uniforms. Kutuzov was on his native land, justice was on the side of the Russians, it was not they who came as invaders to a foreign country. Kutuzov understood that the French would quickly weaken without the supply of weapons and food, which cannot be brought from France thousands of kilometers away.
There were intelligent people in Napoleon's headquarters. The emperor was asked not to enter Moscow, they warned that this was a trap, but pride and conceit pushed him onto the wrong path. Tolstoy sarcastically portrays how Napoleon is waiting on Poklonnaya Hill for the Russian "boyars" with the keys to Moscow. Without waiting for anyone, the French emperor decided to give the city to his mercenaries for plunder. In the absence of hostilities, the army decays - this is the law. Napoleon was urged to move on, but he waited for Russia to admit defeat. Numerous Russian partisan detachments brought closer the victory over the "invincible", "brilliant" Napoleon. As a result, only 5% of the French army returned from Russia, which had 600 thousand people at the beginning of the campaign.
Contrary to the historians of his time, Tolstoy considers the victory to be the merit of Kutuzov and the Russian people, who bore all the sorrows of wartime on their shoulders.
"Family Thought" in L. N. Tolstoy's novel "War and Peace"
Tolstoy considered the family the basis of everything. It contains love, and the future, and peace, and goodness. Families make up society, the moral laws of which are laid down and preserved in the family. The writer's family is a society in miniature. Almost all of Tolstoy's heroes are family people, and he characterizes them through their families.
In the novel, the life of three families unfolds before us: the Rostovs, the Bolkonskys, and the Kuragins. In the epilogue of the novel, the author shows the happy "new" families of Nikolai and Marya, Pierre and Natasha. Each family is endowed with characteristic features, and also embodies some kind of view of the world and its values. In all the events described in the work, one way or another, members of these families participate. The novel covers fifteen years of life, families are traced in three generations: fathers, children and grandchildren.
The Rostov family is an example of the ideal relationship of loving and respecting each other relatives. The father of the family, Count Ilya Rostov, is depicted as a typical Russian gentleman. Manager Mitenka constantly deceives the count. Only Nikolai Rostov exposes and fires him. In the family, no one accuses anyone, does not suspect, does not deceive. They are one, always sincerely ready to help each other. Joys and sorrows are experienced together, looking for answers to difficult questions together. They quickly experience troubles, they are dominated by an emotional and intuitive beginning. All Rostovs are addicted people, but the mistakes and mistakes of family members do not cause rejection and enmity towards each other. The family is upset and grieves when Nikolai Rostov plays cards, experiences the story of Natasha's love for Anatole Kuragin and an attempt to escape with him, although the whole secular society is discussing this shameful event.
In the Rostov family, the "Russian spirit", everyone loves national culture and art. They live in accordance with national traditions: they are happy to have guests, they are generous, they love to live in the countryside, they take part in folk holidays with pleasure. All Rostovs are talented, possess musical ability. The yard people serving in the house are deeply devoted to the masters, they live with them as one family.
During the war, the Rostov family remains in Moscow until the last moment, while it is still possible to evacuate. The wounded are placed in their house, who need to be taken out of the city so that they are not killed by the French. The Rostovs decide to give up the acquired property and give the wagons for the soldiers. This is how it manifests true patriotism this family.
Other orders reign in the Bolkonsky family. All living feelings are driven to the very bottom of the soul. In the relationship between them - only cold rationality. Prince Andrei and Princess Marya have no mother, and the father replaces parental love with super-demanding, which makes his children unhappy. Princess Marya is a girl with a strong, courageous character. She was not broken by the cruel attitude of her father, she did not become embittered, did not lose her pure and tender soul.
The old man Bolkonsky is sure that in the world "there are only two virtues - activity and mind." He himself has been working all his life: he writes a charter, works in a workshop, studies with his daughter. Bolkonsky is a nobleman of the old school. He is a patriot of his homeland, he wants to benefit her. Having learned that the French are advancing, he becomes the head of the people's militia, ready to defend his land with weapons in his hands, not to let the enemy step on it.
Prince Andrei is like his father. He also strives for power, works in the Speransky committee, wants to become a great person, to serve for the good of the country. Although he promised himself never to take part in battles again, in 1812 he goes to fight again. Saving the motherland for him is a holy cause. Prince Andrei is dying for his homeland like a hero.
The Kuragin family brings evil and destruction to the world. Using the members of this family as an example, Tolstoy showed how deceptive external beauty can be. Helen and Anatole are beautiful people, but this beauty is imaginary. External brilliance hides the emptiness of their low souls. Anatole leaves a bad memory of himself everywhere. Because of the money, he wooed Princess Marya, destroying the relationship between Prince Andrei and Natasha. Helen loves only herself, destroys Pierre's life, dishonors him.
Lies and hypocrisy, contempt for others reign in the Kuragin family. The father of the family, Prince Vasily, is a court intriguer, he is only interested in gossip and vile deeds. For the sake of money, he is ready for anything, even for a crime. His behavior in the scene of the death of Count Bezukhov is the height of blasphemy and contempt for the laws of human morality.
There is no spiritual kinship in the Kuragin family. Tolstoy does not show us their house. They are primitive, undeveloped people, whom the author portrays in satirical tones. They cannot achieve happiness in life.
According to Tolstoy, a good family is a reward for a righteous life. In the finale, he rewards his heroes with happiness in family life.
The family way of life of the Rostovs and Bolkonskys
In War and Peace, Tolstoy traces the life of three generations of several Russian families. The writer rightly considered the family the basis of society, saw in it love, the future, peace and goodness. In addition, Tolstoy believed that moral laws are laid down and preserved only in the family. The family for the writer is a society in miniature. Almost all the heroes of L.N. Tolstoy are family people, so the characterization of these characters is impossible without analyzing their relationships in the family. After all, a good family, the writer believed, is a reward for a righteous life and its indicator. It is not surprising that in the finale he rewards his heroes with happiness in family life.
The Rostov family evokes invariably warm feelings among readers of different generations. Ideal relationships of loving and respecting each other relatives reign here.
Count Ilya Rostov - the head of the family, personifies a typical image of a Russian master, who is deceived by the manager Mitenka. Truly idyllic orders and relationships reign in the family: no one accuses anyone, does not suspect, does not deceive. The Rostovs are always sincerely ready to help each other: they experience joys and sorrows together, together. All family members are emotional and guided most often by intuition.
Natasha Rostova is the most lively character in the novel. The author's sympathy for Natasha is noticeable from the first pages of the book. Leo Tolstoy encourages readers to admire the ardent, impulsive, cheerful, charming girl. Natasha appears in the novel at the age of thirteen, when a teenage girl turns into a girl. Her image appears on one and a half thousand pages, and her life can be traced for fifteen years. Natasha is a spiritualized person, full of a thirst for happiness.
The writer carefully reveals all periods of growing up of Natasha Rostova, her childhood, youth, maturity, marriage, motherhood. Tolstoy pays special attention to the evolution of the heroine, her emotional experiences. Natasha is light and direct, looks at the world with wide eyes. The author draws a deep image, open to everything new, filled with feelings, with strong spiritual impulses. The image of Rostova in the novel is an artistic discovery and discovery of Tolstoy. He shows in one character the wealth of the soul, exceptional sincerity and disposition towards people and nature.
All Rostovs are emotional people, prone to spiritual impulses. Their mistakes and blunders do not affect the harmony family relations, do not cause quarrels and hatred. The loss of Nikolai Rostov at cards or the shameful love for the family of Natalya in Anatol Kuragin, with whom she is trying to escape, are experienced together and only together by all the Rostovs.
National Russian culture and art occupy an important place in the Rostov family. Despite the craze for everything French, the “Russian spirit” means quite a lot for the Rostovs: they are happy to have guests, are generous, love to live in the countryside, take part in folk holidays with pleasure. All Rostovs are talented, they love to play music. It is remarkable and surprising for this era that the servants are deeply devoted to their masters, they are practically one family.
The true patriotism of the Rostovs is being tested by the war. The family remains in Moscow until the last moment before the evacuation. In their family nest, they place the wounded. When it becomes clear that they need to leave, the Rostovs decide to give up everything they have acquired and give the wagons for the wounded soldiers.
In many ways, the opposite of Rostov in the novel was the Bolkonsky family. There are other rules here. Cold relationships, the power of reason over emotions. All living movements of the soul and feelings are condemned. Prince Andrei and Princess Marya do not have a mother, so the father replaces parental love with excessive demands on children, which makes them deeply unhappy.
Princess Marya Bolkonskaya is a meek and gentle girl, removed from the life of secular society. It is not corrupted by modern mores and is pure. The image of the princess is characterized by subtle psychologism and realism at the same time. The fate of Marya is in many ways typical of an ugly girl. At the same time, her inner world is written out carefully and naturally. Tolstoy tells the reader even the most intimate thoughts of Princess Bolkonskaya.
Her father, Nikolai Andreevich Bolkonsky, is famous for his difficult character. He is a despotic and evil man, a capricious egoist. In the past, an influential Catherine's nobleman, he was exiled during the reign of Tsar Paul I to his estate Bald Mountains. Bolkonsky practically turned his daughter into a servant and nurse instead of trying to arrange her personal happiness. The prince regularly brings Marya to hysterics, mocks her, humiliates her, throwing notebooks and calling her a fool. Only on the verge of death does the old prince realize how unfair he was to his daughter.
Old Bolkonsky is sure that there are only two virtues in the world - activity and mind. He himself works all his life, embodying two main values for him at once. The prince writes a charter, works in a workshop, studies with his daughter. Bolkonsky is a nobleman of the old school. He is a patriot of his homeland, he wants to benefit her. Having learned that the French are advancing, he becomes the head of the people's militia, ready to defend his land with weapons in his hands, not to let the enemy step on it.
Constant humiliation by her father did not kill in Marya simple and understandable desires for women's happiness. Princess Bolkonskaya is in constant expectation of love and the desire to have a family. The girl knows that she does not shine with beauty. Tolstoy draws her portrait: “The mirror reflected an ugly, weak body and a thin face<…>the princess's eyes, large, deep and radiant (as if rays of warm light sometimes came out of them in sheaves), were so good that very often, despite the ugliness of the whole face, these eyes became more attractive than beauty. At the same time, external unattractiveness is compensated by moral perfection. The soul of the princess is beautiful, like her eyes, which radiate with kindness and tenderness. Because of her appearance, the princess suffers humiliation. She is not threatened with a choice of hundreds of worthy suitors. She is unable to forget the scandalous matchmaking for her of the secular libertine Anatole Kuragin, who at night called the French companion Bourienne for a date.
Princess Marya is a girl with a strong, courageous character. She was not broken by the cruel attitude of her father, she did not become embittered, did not lose her pure and tender soul. The princess has a true gift of forgiveness. She treats everyone equally well: servants, relatives, father, brother, daughter-in-law, nephew, Natasha Rostova.
Prince Andrei is in many ways similar to his father and considers it his duty to serve his homeland. He also strives for power, works in the Speransky committee, wants to occupy a prominent position. At the same time, the younger Bolkonsky is by no means a careerist. Although he promised himself never to take part in battles again, in 1812 he goes to fight again. To save the fatherland for him is a holy duty. Prince Andrei dies heroically without violating his principles.
The Rostov and Bolkonsky families depicted in the novel, according to the author, are a healthy foundation of Russian society. They are equally ready to follow the path of goodness, and in difficult times to defend their homeland.
Themes, plots and problems of Chekhov's stories
Anton Pavlovich Chekhov was a remarkable master of the short story and an outstanding playwright. He was called "an intelligent native of the people." He was not ashamed of his origin and always said that “peasant blood flows” in him. Chekhov lived in an era when, after the assassination of Tsar Alexander II by the Narodnaya Volya, persecution of literature began. This period of Russian history, which lasted until the mid-90s, was called "twilight and gloomy."
In literary works, Chekhov, as a doctor by profession, valued reliability and accuracy. He believed that literature should be closely connected with life. His stories are realistic, and although they are simple at first glance, they have a deep philosophical meaning.
Until 1880, Chekhov was considered a humorist, on the pages of his literary works the writer struggled with the "vulgarity of a vulgar person", with its corrupting influence on the souls of people and Russian life in general. The main themes of his stories were the problem of personality degradation and philosophical theme the meaning of life.
By the 1890s, Chekhov was becoming a writer of European renown. He creates such stories as "Ionych", "The Jumper", "Ward No. 6", "The Man in the Case", "Gooseberries", "The Lady with the Dog", the plays "Uncle Vanya", "The Seagull" and many others.
In the story "The Man in the Case" Chekhov protests against spiritual savagery, philistinism and narrow-mindedness. He raises the question of the ratio of education and the general level of culture in one person, opposes narrowness and stupidity. Many Russian writers raised the issue of the inadmissibility of working at school with the children of people with low moral qualities and mental abilities.
The image of the Greek teacher Belikov is given by the writer in a grotesque, exaggerated manner. This person is not evolving. Chekhov argues that the absence spiritual development, ideals entails the dying of personality. Belikov has long been a spiritual dead man, he strives only for a dead form, he is annoyed and angry by living manifestations of the human mind and feelings. If it were his will, he would put all living things in a case. Belikov, writes Chekhov, “was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella, and certainly in a warm coat with wadding. And he would have an umbrella in a case, and a watch in a case made of gray suede ... ". The hero's favorite expression, "No matter what happens," vividly characterizes him.
Everything new is hostile to Belikov. He always spoke with praise of the past, but the new frightened him. He plugged his ears with cotton wool, wore dark glasses, a sweatshirt, several layers of clothing was protected from the outside world, which he feared most. It is symbolic that in the gymnasium Belikov teaches a dead language, where nothing will ever change. Like all narrow-minded people, the hero is pathologically suspicious, he clearly enjoys intimidating students and their parents. Everyone in the city is afraid of him. The death of Belikov becomes a worthy finale of the "case existence". The coffin is the case in which he "lay, almost happy." Belikov's name has become a household name, it denotes a person's desire to hide from life. So Chekhov ridiculed the behavior of the timid intelligentsia of the 90s.
Startsev meets the Turkin family, “the most educated and talented in the city,” and falls in love with their daughter Ekaterina Ivanovna, who is affectionately called Kotik in the family. The young doctor's life is filled with meaning, but it turned out that in his life it was "the only joy and ... the last." The cat, seeing the doctor's interest in her, jokingly appoints him a date at night in the cemetery. Startsev comes and, having waited in vain for the girl, returns home, irritated and tired. The next day, he confesses his love to Kitty and is refused. From that moment on, Startsev's decisive actions ceased. He feels relieved: "the heart stopped beating restlessly", his life went back to normal. When Kotik left to enter the conservatory, he suffered for three days.
By the age of 35, Startsev turned into Ionych. He was no longer annoyed by the local inhabitants, he became their own for them. He plays cards with them and does not feel any desire to develop spiritually. He completely forgets about his love, sinks, grows fat, in the evenings indulges in his favorite pastime - counts the money received from the sick. Having returned to the town, Kotik does not recognize the former Startsev. He fenced himself off from the whole world and does not want to know anything about it.
Chekhov created a new type of story, in which he raised topics important for the present. With his work, the writer instilled in society an aversion to "a sleepy, half-dead life."
The theme of vulgarity and immutability of life in A.P. Chekhov's story "The Man in the Case"
In the story "The Man in the Case" Chekhov protests against spiritual savagery, philistinism and narrow-mindedness. He raises the question of the ratio of education and the general level of culture in one person, opposes narrowness and stupidity, a stupefying fear of superiors. Chekhov's story "The Man in the Case" in the 90s became the pinnacle of the writer's satire. In a country dominated by the police, denunciations, judicial reprisals, a living thought, good deeds are persecuted, the mere sight of Belikov was enough for people to feel threatened and feared. In the image of Belikov, Chekhov embodied the characteristic features of the era. The prototype of the image of Belikov was the inspector of Moscow University A. A. Bryzgalov. People like Belikov encouraged espionage and informing in all spheres of life. They drafted and approved a circular of the Ministry of Public Education dated July 26, 1884, according to which class teachers were obliged to “visit as often as possible students living with relatives” in order to “make sure what kind of people are in the student’s apartment, with whom he enters into relations and what books constitute the subject of his reading in his spare time. Teachers had to spy, eavesdrop and inform the authorities.
The image of the Greek teacher Belikov is given by the writer in a grotesque, exaggerated manner. Belikov, writes Chekhov, “was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella, and certainly in a warm coat with wadding. And he would have an umbrella in a case, and a watch in a case made of gray suede ... ". When Belikov left the house, he covered his ears with cotton wool, wore dark glasses, a sweatshirt, covered himself with several layers of clothing from the outside world, which he feared most. If it were his will, he would put all living things in a case.
Let us pay attention to the fact that at the gymnasium Belikov teaches a dead language in which changes or innovations are impossible. The hero is pathologically suspicious, however, like all narrow-minded people. He gets undisguised pleasure from intimidating colleagues, students and their parents. Narrator Burkin says of him: “We teachers were afraid of him. And even the director was afraid... Under the influence of people like Belikov, over the past ten or fifteen years, people in our city have become afraid of everything. To be afraid to speak loudly, to send letters, to make acquaintances, to read books, to be afraid to help the poor, to teach literacy.” In the image of Belikov, the writer gave a symbolic type of official who is afraid of everything and keeps everyone in fear.
Everything new is hostile to Belikov. He always spoke with praise about the past, but the new scared him: “Reality irritated him, scared him, kept him in constant anxiety, and, perhaps, in order to justify this timidity of his, his disgust for the present, he always praised the past ... To only circulars and newspaper articles in which something was forbidden were clear to him. Chekhov argues that the lack of spiritual development, ideals entails the death of the individual. Belikov has long been a spiritual dead man, he strives only for a dead form, he is annoyed and angry by living manifestations of the human mind and feelings. This person is not evolving. The hero's favorite expression, "No matter what happens," vividly characterizes him.
According to Burkin, Belikov’s home life was no different from public life: “a dressing gown, a cap, shutters, latches, a whole range of all sorts of prohibitions, restrictions. He did not keep female servants out of fear, so that they would not think badly of him ... Belikov's bedroom was small, like a box, the bed was with a canopy. Going to bed, he covered himself with his head; it was hot, stuffy, the wind was knocking on the closed doors, the stove was buzzing; sighs were heard from the kitchen, ominous sighs ... ". Belikov did not sleep well. He was afraid that a servant would stab him, thieves would not get in, he had disturbing dreams, and in the morning he went to the gymnasium pale, boring “and it was clear that the crowded gymnasium he was going to was terrible, disgusting to his whole being ... ".
Belikov is not the type of passive being who sits at home, fenced off from the world, and is afraid to stick his head out, like the wise scribbler from Saltykov-Shchedrin or the hero of L. Andreev's story "At the Window". Belikov's case is active. He seeks to infect everyone with his fears. He visits colleagues, intervenes in their lives. “He had a strange habit of walking around our apartments. He will come to the teacher, sit down and be silent and as if he is looking out for something ... "
And with such a character, it so happened that Belikov almost got married. A new teacher Mikhail Kovalenko and his sister Varenka came to the gymnasium from Ukraine. Both of them are cheerful, active, beautiful people. The fact that they laugh heartily, are cheerful, resolute, are not afraid of anyone, ride bicycles together, shocks Belikov. But the beautiful Varenka arouses his interest. The teachers unanimously offer him to marry, especially since the girl not only does not drive Belikov away, but even sings romances to him and goes for a walk with him. City pranksters immediately drew a caricature of the hated teacher with the caption: "Anthropos in love." Belikov was simply struck by the drawing. In the evening, having come to Kovalenko, he expresses his indignation at the behavior of him and Varenka, because it is the height of indecency for a girl to ride a bicycle! After Belikov's promise to report the contents of the conversation to the authorities, the enraged Kovalenko lowers the guest down the stairs. Varenka watches this picture with laughter. Belikov came home, lay down and died a month later.
The death of Belikov becomes a worthy finale of the "case existence". The coffin is the case in which he lay, "with a meek, pleasant, almost cheerful expression on his face." He reached his ideal! Even nature corresponds to the atmosphere of the funeral: it was raining, and everyone was with umbrellas and galoshes. Burkin says: "I confess that it is a great pleasure to bury people like Belikov." Everyone left the cemetery with a feeling of great relief, as if they had been released from prison. But, writes Chekhov, nothing has changed in the life of the town: fear has penetrated deep into everyone.
After listening to the story of Belikov, Ivan Ivanovich sums up: “To see and hear how they lie and they call you a fool because you put up with this lie; endure insults, humiliations, do not dare to openly declare that you are on the side of the honest, free people, and lie to yourself, smile, and all this because of a piece of bread, because of a warm corner, because of some bureaucrat who is worthless - no, it’s impossible to live like this anymore!
Belikov's name has become a household name, it denotes a person's desire to hide from life. This image has become a sign of the times. So Chekhov ridiculed the behavior of the timid intelligentsia of the 90s.
The problem of a person's responsibility for his own destiny in A.P. Chekhov's stories "Ionych" and "The Jumper"
The story "Ionych" is another example of "case life". The hero of this story is Dmitry Ionovich Startsev, a young doctor who came to work in a zemstvo hospital. He works, "having no free time." His soul aspires to high ideals. Startsev meets the inhabitants of the city and sees that they lead a vulgar, sleepy, soulless existence. The townsfolk are all "gamblers, alcoholics, wheezing", they annoy him with "their conversations, views on life and even their appearance." It is impossible to talk to them about politics or science. The doctor comes across a complete misunderstanding. The townsfolk, in response, "start such a philosophy, stupid and evil, that it remains only to wave your hand and move away."
Startsev meets the Turkin family, “the most educated and talented in the city,” and falls in love with their daughter Ekaterina Ivanovna, who is affectionately called Kotik in the family. The young doctor's life is filled with meaning, but it turned out that in his life it was "the only joy and ... the last." The cat, seeing the doctor's interest in her, jokingly appoints him a date at night in the cemetery. Startsev comes and, having waited in vain for the girl, returns home, irritated and tired. The next day, he confesses his love to Kitty and is refused. From that moment on, Startsev's decisive actions ceased. He feels relieved: "the heart stopped beating restlessly", his life went back to normal. When Kotik left to enter the conservatory, he suffered for three days.
By the age of 35, Startsev turned into Ionych. He was no longer annoyed by the local inhabitants, he became his own for them, and outwardly he became like some kind of soulless idol. He plays cards with them and does not feel any desire to develop spiritually. He completely forgets about his love, falls, grows stout, in the evenings indulges in his favorite pastime - counts the money received from the sick. Having returned to the town, Kotik does not recognize the former Startsev. Convinced that she does not have the talent for a great career, she now expects to resurrect her former love. But Ionych fenced himself off from the whole world and does not want to know anything about him. Having visited the Turkins and seeing Kotik again, he thinks: “It’s good that I didn’t get married then.”
The idea of the social value of a person is expressed by Chekhov in the story "The Jumper". The writer talks about the true and imaginary in people's lives. The spiritual beauty of a person is often not visible, especially to narrow-minded people.
The author created the image of an empty, vulgar, eccentric woman Olga Ivanovna. The heroine is very dependent on the opinions of others, her guests and acquaintances must have been famous, extraordinary people, she included herself in this circle. The content of her life is an amateurish passion for art and flirting with artists. For Olga Ivanovna, life is a performance in which she plays a fictitious herself, and around are guests invented by her. Since the heroine does not understand people at all and she has no taste, in reality a vulgar, stupid farce is played out daily. The artist Ryabovsky, whom Olga Ivanovna idolizes at this stage of her life, is essentially mediocre. The writer draws his image satirically: mannered, theatrical, artificial speech, gestures designed for the public.
A really smart, talented scientist, a kind and noble person lives next to Olga Ivanovna. This is her husband, Dr. Dymov. He loves his windy, eccentric wife, forgives her, like a big child, all her antics. The heroine treats her husband as an empty place, he does not interfere with her. This narcissistic woman sees only herself and her stuffy little world of bohemian friends. Only after the death of Dymov did Olga Ivanovna understand how wonderful person he was. It turned out that she knew almost nothing about her own husband, she had no time to take an interest in his problems. Realizing that she was left alone, Olga Ivanovna would like to bring her husband back to life, but her usual train of thought did not change: “She wanted to explain to him ... that he is a rare, extraordinary, great person and that she will revere him all her life, pray and experience sacred fear…” Only this form of relationship is understood by this “jumper” woman. The heroine looks at the friend of her deceased husband Korostelev and thinks: “Is it really not boring to be a simple, unremarkable, unknown person, and even with such a wrinkled face and bad manners?” She remained a beautiful soulless doll, obsessed with the idea of greatness.
Chekhov creates the image of Dymov with special love, presenting to the reader a modest, honest, noble person. The writer originally titled this story " great person". The main conclusion of the author is this: you do not need to look for an extraordinary hero, you need to be able to see the beauty of the soul of an ordinary person.
Chekhov created a new type of story, in which he raised topics important for the present. With his work, the writer instilled in society an aversion to "a sleepy, half-dead life", and contributed to the development of Russian psychological prose.
The theme of love in A.P. Chekhov's story "about love". Psychologism of Chekhov's prose
The skill of A.P. Chekhov as the author of psychological prose was fully manifested in his stories “About Love”, “The Lady with the Dog” and others. These are tragic stories about the impossibility of making the right choice in building relationships. The tradition says to start a family in youth, when a person has not yet figured out himself, hence the millions of unhappy marriages.
In the subtle, full of lyricism story "About Love", the author talks about broken happiness, about how "quiet, sad love" died and the lives of two good and kind people were broken.
The story begins with a conversation between the protagonist Pavel Konstantinovich Alekhine and his guest Burkin about the secret of love. Having told the story of how the beautiful Pelageya fell in love with the nondescript drunkard cook Nikanor, Alekhine wonders how it was possible to fall in love with "this mug." How is love born? When considering this mysterious phenomenon, only questions arise that mankind has not given a single answer, especially since love is individual in each individual case, for each couple it is different. The interlocutors come to the conclusion that we, Russians, kill love with “fatal” questions: is it honest or not honest, smart or stupid, what will this love lead to, and so on. “Is it good or not,” the hero says, “I don’t know, but what it hinders, doesn’t satisfy, irritates, I know.”
Alekhine tells his friend tragic story. After university, he came to his father's estate, "on which there were many debts." Pavel decided to stay in the village and revive the estate, he felt obliged, as his father spent a lot, paying for his education. Alekhin developed frantic activity: “I did not leave a single piece of land alone, I drove all the men and women from neighboring villages, my work was in full swing here; I myself also plowed, sowed, and mowed, and at the same time I was bored and grimaced in disgust, like a village cat that eats cucumbers in the garden with hunger.
Alekhine was elected to the magistrate, he had to travel to the city, which was a holiday for him after hard rural work. On one of his trips, Alekhin met Luganovich, a deputy chairman of the district court, who invited him to dine with him. So the hero met Anna Alekseevna, Luganovich's wife, who was no more than twenty-two years old. Now, after many years, Alekhine cannot explain what was so special about this woman. He recalls: “I saw a young, beautiful, kind, intelligent, charming woman, a woman I had never met before; and at once I felt in her a being close, already familiar, as if I had already seen this face, these friendly, intelligent eyes ... "
Anna's husband was a simple-hearted kind man, they lived peacefully and prosperously, a child was born six months ago. They received Alekhine with all possible hospitality. Having left for his place in Sofyino, Alekhine saw in front of him all summer a slender blond woman, Anna. The meeting in late autumn at the theater brought them even closer. Alekhin began to visit Anna's house often, became his own person there, he was loved by both the servants and the children of the Luganoviches. The hero bitterly says: “There is a proverb: the woman had no trouble, so she bought a pig. The Luganoviches had no trouble, so they became friends with me. New friends took great care of Alekhine, regretted that he was such clever man, instead of intellectual labor, he is forced to spin in the village, forever without money, they offered him to borrow from them, but Alekhine never took it.
The hero thinks in anguish: what is it about Anna's husband, a man already over forty, primitive-minded, boring, sluggish good-natured man? Why didn't Anna meet him, Alekhine, why did such a mistake happen? Alekhine's love is mutual. Anna is looking forward to his visits, but the characters do not talk about their feelings. Alekhin thinks that he will break the life of Anna, her husband, children. Where will he take her? Who is he? What can he give her? What will happen to her if he falls ill or if they fall out of love with each other? And Anna reasoned in the same vein.
And the years went by. Alekhin and Anna went to the theater together, they were already talking about God knows what, but after the theater the heroes said goodbye and walked in different directions. Both Alekhine and Anna were completely exhausted by such relationships, Anna was nervous and annoyed. And then the news came that Luganovich was being transferred to serve in another city. Anna left for the Crimea, where the doctors advised her to go, and her husband remained to sell things, a summer house, and so on. When Anna had already got into the compartment, Alekhine ran in to put another basket on the shelf. “When here, in the compartment, our eyes met, spiritual strength left us both, I hugged her, she pressed her face against my chest, and tears flowed from her eyes; kissing her face, her shoulders, her hands, wet with tears - oh, how unhappy we were with her! - I confessed my love to her and with a burning pain in my heart I realized how unnecessary, petty and how deceptive was everything that prevented us from loving. The hero realized that in reasoning about love, one must proceed "from a higher, more important than happiness or unhappiness, sin or virtue in their current sense, or there is no need to reason at all." The train was already moving, the hero kissed his Anna in last time and they broke up forever. Alekhin went into the next empty compartment, sat and cried until the first stop of the train, and then went to his place in Sofyino on foot.
Chekhov's story "About Love" has not lost its relevance today. in human relations and public opinion nothing changed. The miracle of love is the greatest gift of God, rare people can accept it and live happily with it.
In the drama "Thunderstorm", the author set himself the task of exposing the economic and spiritual tyranny of the "dark kingdom". He showed how “a protest against age-old traditions is ripening and how the Old Testament way of life begins to collapse under the pressure of the demands of life” (A. A. Zerchaninov).
This is the essence of the main conflict. According to Yu. V. Lebedev, this the conflict between the "dark kingdom" and the new man, who lives according to the laws of conscience.
The action takes place in the provincial town of Kalinov, located on the banks of the Volga. “The view is extraordinary! The beauty! My soul rejoices! .. for fifty years I have been looking beyond the Volga every day and I can’t see enough of everything, ”Kuligin says enthusiastically, forcing us to admire the extraordinary landscape.
In the center of Kalinov there is a market square with shopping malls, nearby an old church for parishioners. Everything seems to be peaceful and calm in the city. But it's not. Behind high fences merchant houses“another life boils”, ugly and repulsive. "Cruel morals, sir, in our city, cruel!" Kuligin says. Lawlessness and ugliness are happening in Kalinov. The owners of the city are distinguished by rudeness and cruelty, they mock their household members. These are real tyrants, they are ignorant, they receive information about life from illiterate wanderers.
Kuligin: “And they don’t lock themselves up from thieves, but so that people don’t see how they eat their own home and tyrannize their families! And what tears flow behind these locks, invisible and inaudible!”
It seems that the inhabitants of the city of Kalinov are fenced off from the whole world. Some dominate and tyrannize, others suffer.
A. N. Ostrovsky carefully “paints” the whole way of the patriarchal-merchant life, closed within four walls. At the same time, the playwright also acts as a lyricist: depicting the Volga landscape, he makes you feel the beauty and attraction of the world of nature, naturalness and primordial freedom.
Having chosen the public garden of the city of Kalinov as the scene of action, Ostrovsky made it natural for all the characters in the play to appear. The Kabanov family appeared when everything became known about the city and its inhabitants.
The drama features two groups of residents of the provincial town of Kalinova. One of them represents power of the "dark kingdom". These are Kabanova Marfa Ignatievna and Dikoy Savel Prokofich - rude, despotic and ignorant, enemies of everything new.
The other group includes the "victims" of the "dark kingdom". These are Katerina, Boris, Kuligin, Varvara, Kudryash, Tikhon, humiliated and oppressed, but still capable of protest and expressing it in different ways.
Wild Savel Prokofich- "a piercing man", "swearing", "tyrant", which means wild, tough-hearted, domineering man, a burly, portly merchant with a broad beard, he is in a coat, oiled boots, stands on his hips, speaks in a low, deep voice ... or Dikoy - a small, lean old man with a sparse beard and restlessly shifting eyes; this essentially pitiful man is capable of intimidating those around him.
The power of money, material dependence and the traditional obedience of the Kalinovites are the basis of Diky's tyranny. The purpose of his life is enrichment, and there are all sorts of ways to enrich himself: cheating employees, robbing neighbors, not paying money by inheritance.
Rudeness, ignorance, scolding, swearing are familiar to the Wild, moreover, this is the content of his life, this is also a defense against everything incomprehensible and hostile. Kudryash about Dikoy: “How he got off the chain!” The passion for swearing is even stronger if they ask him for money.
Kabanova Marfa Ignatievna- the embodiment of despotism, covered with hypocrisy. Kuligin about her: “A hypocrite, sir! She clothes the poor, but eats the household completely.
She constantly and subtly sharpens her household. For her, there is no love, maternal feelings for her children, for her daughter-in-law Katerina. Feelings are corroded by callousness, arbitrariness and pretense. Kabanikha is a “guardian” and defender of the customs and orders of patriarchal antiquity.
N. A. Dobrolyubov writes: “The tyrants of Russian life, however, begin to feel some kind of discontent and fear, without knowing what and why. Everything seems to be all right as before: Dikoi scolds whoever he wants ... Kabanova still keeps her children in fear, forces her daughter-in-law to observe all the etiquettes of antiquity, eats her like rusty iron, considers herself completely infallible ... But everything is somehow restless , not good for them. In addition to them, without asking them, another life grew up, with other beginnings. (From the article "A Ray of Light in the Dark Realm".)
The cruelty of Kabanikha and the tyranny of Dikoy also have concrete historical grounds for life: the more acutely they feel the fragility of their position, the more fiercely they defend their foundations, suppress those who think differently, who inspire at least some suspicion. The main "tool" of submission, suppression is fear. As the norm of life - fear elevated to the law. Law in the "dark kingdom" and fear are inseparable, should be afraid, that keeps order.
Wild and Boar - typical representatives of the "dark kingdom". These people are predators.
wild | Boar |
About him: "scold"; "Like I got off the chain" | About her: “everything under the guise of piety”; “a hypocrite, she clothes the poor, but she completely ate the household”; "scolds"; "sharpen like iron rust" |
He himself: "parasite"; "damn"; "fail you"; "silly man"; "go away"; “What am I to you - even, or something”; “with a snout and climbs to talk”; "robber"; "asp"; "fool", etc. | She herself: “I see that you want the will”; “you will not be afraid, and even more so of me”; “Do you want to live by your will”; "fool"; "order your wife"; “must do what the mother says”; "where the will leads" etc. |
Conclusion. Wild - scolder, rude, petty tyrant; feels his power over people | Conclusion. The boar is a hypocrite, does not tolerate will and disobedience, acts with fear |
The boar is scarier than the Wild Boar, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. The boar, under the guise of religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.
Tikhon, Boris, Varvara, Kuligin, Kudryash - "victims" of the "dark kingdom".
Tikhon- kind, sincerely loves Katerina. Exhausted by the reproaches and orders of Kabanikh, he thinks how to escape from the house. But in everything obedient to his mother, Tikhon nevertheless openly accused her (!) Of the death of his wife. Here are his words after the death of his wife: “Good for you, Katya! And why did I stay to live ... ”It’s scary if the living envy the dead.
Boris- soft, good person. He really understands Katerina, but he is unable to help her; indecisive, unable to fight for his happiness, Boris chooses the path of humility.
Kuligin- an educated person, a self-taught mechanic, a talented person from the people. His last name is reminiscent of the Nizhny Novgorod inventor Kulibin. The hero subtly feels the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin advocates for the improvement of the city, he does not enter into a decisive struggle with tyrants, he persuades them more, convinces them to do something for the common good: he tries to persuade Diky to give money for a sundial, for a lightning rod, tries to influence the inhabitants, enlighten them, explaining the thunderstorm as a natural phenomenon. The image of the self-taught Kuligin helps to understand the main idea of the play: the idea of the inevitable death of the “dark kingdom”. Thus, Kuligin personifies the best part of the city's inhabitants, but he is alone in his aspirations, which is why he is considered an eccentric. Embodied in the form of a hero eternal motive grief from the mind.
barbarian understands the senselessness of the protest, she lives by the principle: "Do what you want, if only it was sewn and covered." For Barbara, lying is the norm. She ran away from home, but did not submit.
Curly- desperate, boastful, but at the same time capable of sincere feelings. He worries about Katherine. He is not afraid of his master. “I am considered a rude man, why is he holding me? So, he needs me. Well, that means I'm not afraid of him, but let him be afraid of me.
Only ideas, not words, have a firm power over society.
(V. G. Belinsky)
The literature of the 19th century is qualitatively different from the literature of the preceding "golden age". In 1955–1956 freedom-loving and freedom-realizing tendencies in literature are beginning to manifest themselves more and more actively. Piece of art is endowed with a special function: it must change the system of reference points, reshape consciousness. Sociality becomes an important initial stage, and one of the main problems is the question of how society distorts a person. Of course, many writers in their works tried to solve the problem. For example, Dostoevsky writes "Poor People", in which he shows the poverty and hopelessness of the lower strata of the population. This aspect was also in the sphere of attention of playwrights. N. A. Ostrovsky in The Thunderstorm showed the cruel customs of the city of Kalinov quite clearly. The audience had to reflect on the social problems that were characteristic of the entire patriarchal Russia.
The situation in the city of Kalinovo is quite typical for all the provincial cities of Russia in the second half of the 19th century. In Kalinov, you can recognize Nizhny Novgorod, the cities of the Volga region, and even Moscow. The phrase "cruel morals, sir" is pronounced in the first act by one of the main characters of the play and becomes the main motif associated with the theme of the city. Ostrovsky in The Thunderstorm makes Kuligin's monologue about cruel morals quite interesting in the context of Kuligin's other phrases in previous phenomena.
So, the play begins with a dialogue between Kudryash and Kuligin. Men talk about the beauty of nature. Curly does not consider the landscape to be something special, the external scenery means little to him. Kuligin, on the other hand, admires the beauty of the Volga: “Miracles, truly it must be said that miracles! Curly! Here, my brother, for fifty years I have been looking beyond the Volga every day and I can’t see enough”; “The view is extraordinary! The beauty! The soul rejoices." Then other characters appear on the stage, and the topic of conversation changes. Kuligin talks to Boris about life in Kalinovo. It turns out that life, in fact, is not here. Stagnation and stuffiness. This can be confirmed by the phrases of Boris and Katya that you can suffocate in Kalinovo. People seem to be deaf to the manifestation of discontent, and there are a lot of reasons for discontent. Basically, they are associated with social inequality. All the power of the city is concentrated only in the hands of those who have money. Kuligin talks about Dikoy. This is a rude and petty person. Wealth untied his hands, so the merchant believes that he has the right to decide who can live and who cannot. After all, many in the city are asking for a loan from Dikoy at huge interest, while they know that Dikoy, most likely, will not give this money. People tried to complain about the merchant to the mayor, but this also did not lead to anything - the mayor actually has absolutely no power. Savl Prokofievich allows himself insulting comments and swearing. More precisely, his speech is only this. He can be called marginal in the highest degree: Dikoy often drinks, is devoid of culture. The author's irony is that the merchant is materially rich and completely spiritually poor. It does not seem to have those qualities that make a person a person. At the same time, there are those who laugh at him. For example, a certain hussar who refused to comply with the request of the Wild. And Kudryash says that he is not afraid of this petty tyrant and can answer Diky for an insult.
Kuligin also talks about Marfa Kabanova. This rich widow "under the guise of piety" does cruel things. Her manipulation and treatment of the family can terrify any person. Kuligin characterizes her as follows: “she clothes the poor, but completely ate the household.” The characterization is quite accurate. The boar seems to be much more terrible than the Wild one. Her moral violence against loved ones never stops. And they are her children. With her upbringing, Kabanikha turned Tikhon into an adult infantile drunkard who would be glad to escape from mother's guardianship, but is afraid of her wrath. With his tantrums and humiliations, Kabanikha drives Katerina to suicide. Kabanikhi has a strong character. The bitter irony of the author is that the patriarchal world is led by an imperious and cruel woman.
It is in the first act that cruel morals are most clearly depicted. dark kingdom in "Thunderstorm". Terrifying pictures of social life are contrasted with the picturesque landscapes on the Volga. A social swamp and fences are opposed to space and freedom. Fences and bolts, behind which the inhabitants fenced off from the rest of the world, clogged up in the bank, and, executing lynching, arbitrarily rot from lack of air.
In The Thunderstorm, the cruel customs of the city of Kalinov are shown not only in a pair of characters of Kabanikh - Wild. In addition, the author introduces several more significant characters. Glasha, the servant of the Kabanovs, and Feklusha, designated by Ostrovsky as a wanderer, are discussing the life of the city. It seems to women that only here the old house-building traditions are still preserved, and the house of the Kabanovs is the last paradise on earth. The wanderer talks about the customs of other countries, calling them unfaithful, because there is no Christian faith there. People like Feklusha and Glasha deserve "bestial" treatment from merchants and philistines. After all, these people are hopelessly limited. They refuse to understand and accept anything if it is at odds with the familiar world. They feel good in that “bla-a-adati” that they have built for themselves. It's not that they refuse to see reality, but that reality is considered the norm.
Of course, the cruel customs of the city of Kalinov in "Thunderstorm", characteristic of society as a whole, are shown somewhat grotesquely. But thanks to such exaggeration and concentration of negativity, the author wanted to get a reaction from the public: people should realize that changes and reforms are inevitable. We must participate in the changes ourselves, otherwise this quagmire will grow to an incredible scale, when obsolete orders will subjugate everything to themselves, finally removing even the possibility of development.
The above description of the mores of the inhabitants of the city of Kalinov can be useful for 10 classes when preparing materials for an essay on the topic “Cruel mores of the city of Kalinov”.
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