Summary: The figurative system in the story of I.S. Turgenev "Spring waters"

BREST STATE UNIVERSITY

THEM. A.S. PUSHKIN

Faculty of Philology

Department of Theory and History of Russian Literature

COURSE WORK

"Spring waters" I.S. Turgenev. Problems, artistic originality

Completed:

3rd year student,

philological faculty

correspondence department

Vasily Shubich

Supervisor:

Candidate of Philology, Associate Professor

Senkevich Tatiana Vasilievna

Introduction

Chapter 1. Interpretation of the theme of love in the story of I.S. Turgenev

Chapter 2. Artistic skill of Turgenev

Conclusion

Bibliography

Introduction

Turgenev's life took place in one of the most significant epochs in Russian and world history. When he was seven years old, there was an uprising of the Decembrists. The beginning of his literary activity falls on the time of Belinsky and Gogol, and his heyday - in the 60s - 70s, the time of Chernyshevsky and revolutionary populism.

Turgenev was an astute and perspicacious artist. From the beginning to the end of his creative life, he was sensitive to everything new in Russian reality. He was able to notice and respond to all living and acute phenomena of our time, to raise in his works precisely those questions of Russian life that worried public thought. Turgenev's books have always evoked acute literary and social controversy, were an example of acting art.

Turgenev has always considered himself a realist writer. “I am predominantly a realist - and most of all I am interested in the living nature of the human physiognomy; I am indifferent to everything supernatural, I don’t believe in any absolutes and systems, I love freedom most of all - and, as far as I can judge, is available to poetry. Everything human is dear to me ... ”- he wrote to MA. Milyutina in February 1875, Turgenev I.S. Spring Waters: Tale. Poems in Prose: For Art. shk. Age / Foreword S. Petrova. - Mn .: Mast. lit., 1996.

No one in Russian literature before Turgenev depicted with such thoroughness and penetration the spiritual life of a person, the movement and clash of ideas. Turgenev is one of the creators of the Russian story, the truthfulness, depth and artistic merits of which are striking. One of them is the lyrical and largely autobiographical story "Spring Waters", which he finished in 1871 in Baden-Baden.

This work was appraised by Annenkov in a letter to the author: “After the last proof sheet of the wonderful story“ Veshnie Vody ”I am writing to you, my esteemed friend. A thing came out that is brilliant in color, in the energy of the brush, in the enticing fit of all the details to the plot and in the expression of faces, although all its main motives are not very new, and the thought-mother has already been encountered before in your novels ... I prophesy you shouts of delight from the public : she has not received such an intensity of poetic power, selectivity and stylistic miracles from you for a long time. " After this flattering assessment, Annenkov expounded his critical remarks about Sanin and his relationship with Polozova: “For example, I can understand that Sanin could make disgusting leaps under Polozova's whip, but I cannot understand how he became her lackey after the experience of pure love. ... It comes out terribly impressive in the story - it's true! But it is also terribly shameful for the Russian nature of man ... It would be better if you drove Sanin home from Wiesbaden, from both mistresses, with horror from himself, suffering, disgusting and not understanding himself, otherwise it turns out now that this man is able to soak out the taste of the divine in the same way ragweed and Kalmyk eat raw meat ... brr! But what do you care about these subtleties, when tremendous success awaits you and when, under the influence of an amazing story, I myself could hardly find the reason for the sediment on my soul that it leaves behind, with its most satisfactory mood "Turgenev I.S., Rudin ; Spring waters. - M .: AO publishing house "New time", 1992. S. 269..

Turgenev's answer to this letter somewhat clarifies the creative history of the story, which has long remained unexplored. He wrote to Annenkov: “Oh, my dear GV, - and you made me happy and stabbed me to death with your letter. We were gladdened with the praises that you wasted, and slaughtered with the irresistible fidelity of your reproach about the denouement! Imagine that in the first edition it was exactly as you said - as if you had read it ... This trouble can no longer be helped ... ”.

It is also possible that Turgenev did not want to change the story, cherishing those autobiographical memories that were reflected in it. The presence of an autobiographical element in the story was attested by Turgenev himself in a letter to Flaubert's niece, Madame Commanville. German professor-philologist Flindlender tells about the same in his memoirs about Turgenev. Bearing in mind the beginning of the story, he writes: “As there Sanina, so Turgenev, still a young man returning home from Italy, in Frankfurt am Main, in a pastry shop, a frightened beautiful girl asked for help to her brother, who had fainted. Only it was not an Italian, but a Jewish family, and the sick man had two sisters, not one. Turgenev then overcame his inflamed passion for the girl with an imminent departure. He met old Pantaleone later, in the house of a Russian prince. "

An even more detailed story by Turgenev about the autobiographical basis of the story is conveyed in the memoirs of I. Pavlovsky: “This whole novel is true. I experienced and felt this incarnation of Princess Trubetskoy, whom I knew well. At one time she made a lot of noise in Paris; there she is still remembered. Pantaleone lived with her. He occupied the middle position in the house between the role of friend and servant. The Italian family is also taken from life. I only changed the details and moved them because I cannot blindly photograph. For example, the princess was a gypsy by birth; I made of her a type of secular Russian lady of plebeian origin. I transferred Pantaleone to an Italian family ... I wrote this novel with true pleasure, and I love it as I love all my works written in this way ”Turgenev IS, Rudin; Spring waters. - M .: AO publishing house "New time", 1992. S. 270..

Shortly before the publication of "Veshniye Vody", Turgenev wrote to Ya.P. Polonsky about his fears for the fate of the story: "My story (speaking between us) is unlikely to please: it is a spatially told story of love, in which there is no social, political or modern hint."

Indeed, in most of the critical reviews, the story was biased and unfairly assessed as a major failure of the writer. The reactionary "Moskovskiye Vedomosti" published an article by a certain L. Antropov "Turgenev's New Story", the author of which rudely accused Turgenev of portraying all foreigners as simple, sensitive, intelligent people, and showing the Russians in a bad light (rag, rubbish person Sanin, the slutty Polozova, the obese brute Polozov).

Contrary to the opinions of such critics, readers highly appreciated Veshnie Vody: the Vestnik Evropy book, in which this story was published, had to be reissued soon - a very rare case in journalistic practice. Even today, this wonderfully told story will rarely leave anyone indifferent.

The purpose of the course work: determination of the problem field of Turgenev's work, its genre and style originality.

Objectives arising from the goal:

1) systematically consider and analyze the main problems of the story;

2) to identify the artistic means and techniques used by Turgenev in the story to create an artistic picture of the world.

Chapter 1. Interpretation of the theme of love in the story of I.S. Turgenev

turgenev story water artistic

In the stories and stories of the seventies, Turgenev developed mainly themes gleaned from memories of the past. But even on historical material that was more or less significantly distant from the present, Turgenev sometimes turned to themes and images associated with the history of the Russian revolutionary movement. This refers mainly to the story "Punin and Baburin", in which the stern and unyielding figure of a republican petty bourgeois, a participant in the Petrashevtsy case, who was sentenced to exile to Siberia in 1849, occupies the central place. Otherwise, not in the historical aspect, but emotionally and lyrically, the motive of the revolutionary struggle sounds on one of the pages of the novel "Spring Waters": , her bright banner hovers high, and no matter what lies ahead of her - death or a new life - she sends her enthusiastic greetings to everything. "

On the basis of autobiographical material in the story "Spring Waters", Turgenev created a new version of the "superfluous person", a noble intellectual who fruitlessly squandered the young forces. And in most of his stories of the seventies, he strove first of all to create types, to ensure that in each of them the spiritual qualities of a person, the features of his life behavior, were revealed in their connections with social conditions, with a certain stage in the history of the development of Russian society. This, in particular, is the image of Sanin. In "Spring Waters" Turgenev focused on solving not socio-historical, but purely psychological problems. These tasks determine the creative position of the author in this story. Here, with equal depth of penetration into the world of human feelings, both main themes of the story are developed: the theme of pure, inspired love between Sanin and Gemma and the theme of blind, humiliating passion, to which Sanin fell victim after meeting with Polozova.

The problems of the story are questions of truth and lies, joy and suffering, freedom and necessity, happiness and unhappiness; moral and aesthetic issues are harmoniously combined. One of the key problems in the story is the problem of love and relationships between a girl and a young man. "Veshnie Vody" is a story of love and betrayal of a "Russian abroad": the main character, Sanin, suddenly falls in love with the beautiful Italian woman Gemma, who lived with her family in Frankfurt, and just as suddenly cheats on her with a very bad lady Marya Nikolaevna Polozova. It turns out that love for Gemma was the main event of his life, and his connection with Polozova was a turn towards a "joyless existence."

Many authors agree that in this autobiographical work there is a stream of life that picks up young Sanin, not allowing him to come to his senses, to seriously think about what is happening. He cannot even calmly remain in one position, everything is in him - movement, readiness to pick up any game, romance, remark. He dissolves into this stream of life. The first touching love for Gemma gives way in the hero's soul to a vital all-consuming passion for Maria Polozova and carries, carries him nonstop to the tragic ending with the promise of hopeless loneliness and doom for mental anguish.

In 1840, Turgenev, like his hero Sanin, passed the 22nd year. When, in 1870, Sanin recalls the events of thirty years ago, he returns to the days of his first youth, as the current fifties remember the sixties. This is his nostalgia. Everything was different in 1840: Russian barbarians trafficked in people, no one had even heard of photographs, the mail coach from Frankfurt to Wiesbaden took three hours (and now, in 1870, it took less than an hour by rail). But the main thing is youth, youth, youth ...

The events described in the story took place a century and a half ago. But even in our time, the questions and problems that the author poses in his work are relevant. It is strange to see both what has changed since then, and what has not changed at all. First of all, the feeling of age has changed: the main character, Sanin, is 22 years old, and this can be believed; but the same is true for the fatal Russian beauty Marya Nikolaevna, but it seems that she is no less than thirty, and her husband, 25-year-old Polozov, is all fifty. The world of things around us has changed; the meanings of the words have changed ("commie" is not a Bolshevik, but a shop assistant); the notions of good manners have changed (Sanina is shocked that the old servant, in fact, a member of the family, sits in the presence of the owners - “Italians are generally not strict about etiquette”). On the other hand, wealthy Russians also spent huge sums of money on foreign trinkets, smoked Havana cigars and were suspicious of all foreigners, especially the Germans. In the way Turgenev describes Sanin's unlucky rival, Kluber: "There could be not the slightest doubt about his supernatural honesty: one had only to look at his starched collars!" Alyabyeva N.N. Theory of Russian Literature - SPb .: Peter, 2004. P. 56.

In Veshniye Vody, Turgenev does not face the main task of identifying the features of the socio-psychological appearance of an “extra” or “weak” person, although Sanin is that “extra” person, well-known to the reader, about whom history has already told its weighty word. Turgenev is interested in the psychological motives of the hero's behavior. In the "superfluous person", he saw a manifestation of the fundamental features of national psychology. In "Spring Waters" the quality of the "superfluous" person is not only the product of certain social and political circumstances, it is, first of all, the distinctive traits of the character of the Russian person. The writer believed that readers, having guessed in Sanin the familiar traits of a "superfluous" person, would look for specific socio-political allusions in the story, and therefore stressed that his works did not contain any social, political or modern allusion.

At the same time, there are quite a few social hints in "Veshniye Vody". Sanin appears as a hero of a very specific era and environment. This is a person with a small fortune who decided to live several thousand inherited from him abroad. For this, he travels to Italy. This is a young barich, of which there were many at that time, "stately" and "slender", with pleasant features, snow-white skin and a healthy blush; "He resembled a young, curly, recently grafted apple tree in our chernozem orchards - or, even better: a well-groomed, smooth, thick-legged, tender three-year-old of the former" master's "horse farms, which had just begun to be banged on the cord ..." (XI, 37). The author clearly strives to ensure that the reader has no doubts that Sanin belongs entirely to Russian life and that innocence, gullibility, frankness, gentleness of character, even health and freshness, which he retained, despite his trip abroad, are all from Russian lordship. Sanin is an ordinary person and does not possess that degree of education, which would imply a deep penetration into the "world of art" and which was organic for "the best part of the youth of that time."

The hero of Turgenev is an old hero, a very common and very typical phenomenon for Russia. He was born in a feudal era, but it is characteristic that this era revealed precisely such personality traits in him. Sanin is a hereditary nobleman and landowner, he has a small estate in the Tula province, which "with a well-organized economy ... must certainly give five or six thousand" income (XI, 94), but Sanin is forced to think about the service, because without it a secure existence became inconceivable to him. Turgenev repeatedly speaks of Sanin's inability to manage. This is also a trait that testifies to the good-natured nobility and egoism of the hero, his indifference to practical, everyday issues. As an honest man, he is not alien to the humane ideas of his time and, for example, sincerely wants to assure his new acquaintances that he will never sell his peasants for anything, since he considers it immoral. But he also sincerely forgets about the moment it comes to his happiness, and then goes on a date with Polozova and talks to her about how much one serf soul could cost. True, Sanin is ashamed, but this does not change the essence of the matter.

Turgenev called Sanin a "weak" man. In Frankfurt, Sanin looks like a hero: he saved Emil's life, fought a duel for the honor of the girl and did all this out of his inner moral conviction. Gemma's betrayal, therefore, cannot be motivated by Sanin's moral depravity. Its reasons are different: the hero of "Spring Waters" cannot determine his own life and floats with its flow.

Sanin is constantly amazed at what is happening to him. In Frankfurt, in a quiet, cozy pastry shop, he feels good, he was captivated by the idyll of life, similar to a fairy tale or a dream, and this girl. This love, which Sanin had not yet realized, but which he already vaguely felt and to meet which he unconsciously rushed. Therefore, he stopped asking himself unnecessary questions: "About Herr Kluber, about the reasons that prompted him to stay in Frankfurt - in a word, about everything that worried him the day before - he never thought" (XI, 36).

But because Sanin stopped worrying, the situation did not cease to be strange; on the contrary, it soon took on an even more unusual character. Sanin lives only in the present, and therefore chance plays a decisive role in his life; this incident also involves him in the most unexpected situations. And although participation in a duel demonstrates Sanin's nobility, the nobility is natural, not rational, but in a sense this duel is absurd. Sanin always thinks like a person who lives only by himself and acts in accordance with an instant inner urge. Although in essence he puts Gemma in a rather false position (XI, 48.64), Sanin's conscience remains clear as long as further events justify his actions: until he, finally realizing that he loves Gemma, completely surrenders to his first love. In his feelings, Sanin knows no limits to his magnanimity or determination.

The stream of life swept over Sanin. Only when he leaves Gemma can he ask himself questions again: “It’s already very strange,” Sanin says to Polozov. “Yesterday, I must admit, I also thought little of you as a Chinese emperor, but today I am going with you to sell my estate to your wife, about whom I also have not the slightest idea” (XI, 106). And now Polozova, who with her practical mind was able to recognize the character of Sanin, achieves the seemingly impossible. She does not allow Sanin to come to his senses, to think, although he understands well that “this lady is clearly fooling him, and she drives up to him this way and that.<…>He would feel contempt for himself if he could concentrate even for a moment; but he had no time to concentrate or despise himself. And she wasted no time (IX, 126, 137). This is the subordination of the will, in which there is nothing demonic and mysterious. Sanin is spontaneous even now. Only when he succumbs to the process of pure love does it look high and noble, but when passion subjugates him - disgusting and low. But in both parts of the story, Sanin is one and the same weak person, and he acts as the “superfluous people” behaved in Turgenev's early works. Sanin is outside the circle of lofty ideas, he is an ordinary person, but the writer believes his personality with the same yardstick - love. But in love, Sanin is a passive person.

Sanin behaves quite logically from the point of view of weak will, i.e. refuses to listen to any arguments of reason, and his intentions and assumptions are absurd and have no practical meaning.

The specificity of "Veshniye Vody" is the combination of Turgenev's two stable motives. The fact that Sanin turned out to be a slave to passion after experiencing love for Gemma should indicate the ability of a Russian person to blindly submit to the spontaneous flow of life and its passionate whims. The second part of the story is constructed as proof of this.

Chapter 2. Artistic skill of Turgenev

The story is preceded by a quatrain from an old Russian romance:

Happy years

Happy Days -

Like spring waters

They rushed off.

It is not difficult to guess that it will be about love, about youth. The story is written in the form of memoirs. The main character Sanin Dmitry Pavlovich, he is 52 years old, he remembers all ages and does not see a gap. “Everywhere there is the same eternal pouring from empty to empty, the same pounding of water, the same half conscientious, half conscious self-delusion ... - and then suddenly, as if it’s like snow on your head, old age will come - and with it ... the fear of death ... and boo into the abyss!" Turgenev I.S. Spring Waters: Tale. Poems in Prose: For Art. shk. age / Foreword S. Petrova. - Mn .: Mast. lit., 1996.

To distract himself from unpleasant thoughts, he sat down at his desk, began rummaging through his papers, in old women's letters, intending to burn this unnecessary trash. Suddenly he cried out weakly: in one of the boxes there was a box in which there was a small pomegranate cross. He sat down again in an armchair by the fireplace - and again covered his face with his hands. "... And he remembered a lot, long past ... This is what he remembered ...".

This part of the story is an exhibition where the protagonist, who is 52 years old, reflects and recalls the events of thirty years ago, his youth, which happened to him in Frankfurt when he was returning from Italy to Russia. The author describes all these events further. And already in the first chapters of the story, the plot of the work begins, where we also get acquainted with the main characters: the young girl Gemma, her brother Emil, as well as Gemma's fiancé, Mr. Kluber, Frau Lenore, the mother of the Roselli family, and a little old man named Pantaleone.

Once, while passing through Frankfurt, Sanin went into a pastry shop, where he helped his young daughter with her younger brother who had fainted. The family was imbued with sympathy for Sanin and, unexpectedly for himself, he spent several days with them. When he was out for a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rude and Sanin challenged him to a duel. The duel ended well for both participants. However, this incident greatly shook the girl's measured life. She refused to the groom, who could not protect her dignity. Sanin, on the other hand, suddenly realized that he fell in love with her. The love that gripped them led Sanin to the idea of getting married. Even Gemma's mother, who was horrified at first because of Gemma's break with her fiancé, gradually calmed down and began to make plans for their future life. To sell his estate and get money for a life together, Sanin went to Wiesbaden to the rich wife of his boarding comrade Polozov, whom he met by chance in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, attracted Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna's strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes languidly in the bustle of the world. Only 30 years later, he accidentally finds a miraculously preserved dried flower that caused that duel and was presented to him by Gemma. He rushes to Frankfurt, where he finds out that Gemma two years after those events got married and lives happily in New York with her husband and five children. Her daughter in the photo looks like that young Italian girl, her mother, whom Sanin once offered her hand and heart.

Saying that the Italians are described in this story in the "warmest colors", the author considers each of these images. With the greatest attention he dwells on the image of Gemma, whom he considers "the true heroine of the story."

In Gemma, Turgenev sought to embody the image of a sincere and spontaneous girl, but at the same time, apparently, he took care that this spontaneity did not turn into swagger. The drama she has experienced does not lead her to such actions as Russian women are capable of (for example, going to a monastery), which characterizes her as a true Italian.

In the image of Polozova, Turgenev strove to emphasize more the cunning, cruelty and baseness of her nature. So, for example, he calls her eyes "greedy"; in his address to Sanin, the author uses the words: “she ordered almost rudely”; and in the characterization that Maria Nikolaevna gives to herself during the first conversation with Sanin, there is a ruthless expression: "I do not spare people"; In Sanin's reflections on the obsessive features of Polozova's image, it is said: “They grin insolently.

Sanin falls in love with the lovely Gemma, an Italian, but her sweet, noisy, extravagant family also has the same ideas about Russia as most foreigners today: Italian ladies are surprised that the Russian surname can be pronounced so easily, and they carelessly share with Sanin his vision of his distant homeland: eternal snow, everyone walks in fur coats and all the military. By the way, there is a serious language barrier between Sanin and Gemma: he doesn't speak German well, she doesn't speak French well, and besides, both have to communicate in a foreign language. It is not surprising that the hero gets tired of such communication. Unsurprisingly, he felt nostalgic. The quencher of nostalgia appears to Sanin in the form of a femme fatale, whom the author frankly admires, whom he is afraid to shiver.

Portrait of Sanin (ch. 14.): Slightly vague features, blue eyes. “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, affectionate blue eyes, golden hair, whiteness and blush of the skin - and most importantly: that innocently cheerful, trusting, frank, at first a somewhat silly expression, according to which in the old days that hour is possible it was to recognize the children of staid noble families, good barichi ... finally, freshness, health - and softness, gentleness - that's all Sanin for you. "

The vagueness of the features suggests the hero's uncertainty, his inability to show firmness of character, to make the right choice. Such people often fall under the influence of another strong personality. It is good if this influence is positive, but if not? "Blue eyes" are characteristic of a child, not an adult man.

Portrait of Gemma (ch. 2, beginning and end of the chapter; ch. 3, beginning). "A girl of about nineteen rushed into the pastry shop, with dark curls scattered over her bare shoulders, with outstretched bare arms, a girl of about nineteen rushed in impulsively ..."

“Her nose was somewhat large, but her beautiful, aquiline fret, her upper lip was slightly set off by fluff; but the complexion, even and matte, be it ivory or milky amber, wavy hair ... and especially the eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes ... ".

We note the eyes - dark gray, magnificent, triumphant, large, wide open, alarming. They live on Gemma's face, they reflect all the inner feelings and experiences of the heroine.

Sanin takes the rose given by Gemma, and it seems to him that "from her half-withered petals a different, even more subtle scent emanated from her than the usual scent of roses." On the only date with her lover, Gemma almost drops her umbrella twice, and this is said so that it becomes clear from what and how love arises.

The story is based on the more than well-known cliche of the love triangle, which consists of two heroines and one hero. The conflict lies in the fact that a naive, pure, young girl does not assume danger from an experienced and cynical rival who wins for the sake of "love of art." The hero is passive; he, strictly speaking, does not make a choice, but obeys. In a sense, it is he who suffers the main defeat, losing true love and not gaining anything in return.

Turgenev's Gemma is Italian, and the Italian flavor at all levels, from linguistic to the description of Italian temperament, emotionality, etc., all the details that make up the canonical image of the Italian are given in the story with almost excessive detail. It is this Italian world, with its temperamental responsiveness, light flammability, quickly replacing each other with sorrows and joys, despair not only from injustice, but from the ignorance of form, that emphasizes the cruelty and baseness of Sanin's deed. But it is against the “Italian raptures” that Marya Nikolaevna stands against Sanina and, perhaps, in this she is not completely unfair. Tsivyan T. Translucent motives, - M .: IVK MGU, 2003. P. 33..

At Turgenev's italian, in this case, corresponding to all possible virtues, in a certain sense, is also inferior to another (Russian) image. As often happens, the negative character “outplayes” the positive one, and Gemma seems somewhat insipid and boring (despite her artistic talent) in comparison with the bright charm and significance of Marya Nikolaevna, “a very wonderful person” who captivates not only Sanin, but also the author himself ... Turgenev almost caricatures the rapacity and depravity of Marya Nikolaevna: “… triumph snaked on her lips - and her eyes, wide and light to whiteness, expressed the one merciless stupidity and satiety of victory. A hawk that claws a caught bird has such eyes. ”Turgenev I.S. Selected works - M .: Olma-press, 2000.S. 377.

However, such passages give way to a much more pronounced admiration, first of all, in front of her feminine irresistibility: “And it’s not that she was a notorious beauty<…>she could not boast of the thinness of her skin, or the grace of her arms and legs - but what did it all mean?<…>Not in front of the "shrine to beauty", in the words of Pushkin, would have stopped anyone who would have met her, but before the charm of a powerful, either Russian or gypsy, blooming Russian body ... and he would have involuntarily stopped!<…>"This woman, when she comes to you, as if she brings all the happiness of your life towards you." Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 344. etc. “The charm of Marya Nikolaevna is dynamic: she is constantly on the move, constantly changing“ images ”T. Tsivyan. Translucent motives, - M .: IVK MGU, 2003. P. 35..

Against this background, the static nature of Gemma's perfect beauty, her statuary and picturesqueness in the "museum" sense of the word, is especially visible: she is compared with the marble Olympic goddesses, then with Allorieva Judith in the Palazzo Pitti, then with Raphael Fornarina (but it should be remembered that this does not contradict manifestations of Italian temperament, emotionality, artistry). Annensky spoke about the strange similarity of pure, focused and lonely Turgenev girls (Gemma, however, is not among them) with statues, about their ability to turn into a statue, about their somewhat heavy statuary Annensky I. White ecstasy: A strange story told by Turgenev / / Annensky I. Books of reflections. M., 1979.S. 141.

No less admiration for the hero (author) is caused by her giftedness, intelligence, education, and in general the eccentricity of Marya Nikolaevna's nature: “She showed such commercial and administrative abilities that one could only be amazed! All the ins and outs of the household were well known to her;<…>her every word hit the mark ”; “Marya Nikolaevna knew how to tell ... a rare gift in a woman, and even in a Russian one!<…>Sanin had to burst out laughing more than once at another brisk and well-aimed word. Most of all, Marya Nikolaevna did not tolerate hypocrisy, phrases and lies ... "Turgenev I.S. Selected works, - M .: Olma-press, 2000. p. 360, etc. Marya Nikolaevna is a person in the full sense of the word, domineering, strong-willed, and as a person leaves the pure, immaculate dove Gemma far behind. Annensky drew attention to this when he said that Turgenev's beauty is “the most genuine power” (cf. also “the insolence of imperious beauty”, “the heady power of pleasure, for which Turgenev forgot everything in the world”). Among the male victims of this beauty (“lovers of fresh buns”) Annensky also names Sanin, adding that “Turgenev’s meek beauty somehow does not impress us” Annensky I. Symbols of beauty among Russian writers // Annensky I. Books of Reflections. P. 134.

Obviously, Sanin and Marya Nikolaevna are watching a play of about the same level in the Wiesbaden Theater - but with what murderous sarcasm Marya Nikolaevna speaks of her: “Drama! she said indignantly, "a German drama." It's all the same: better than a German comedy. "<…>It was one of the many homegrown works in which well-read but mediocre actors<…>presented the so-called tragic conflict and boredom.<…>The antics and whimpering rose again on the stage ”Turgenev I.S. Selected works, - M .: Olma-press, 2000.S. 354, 361, 365.. Sanin perceives the play with her sober and merciless eyes and does not experience any enthusiasm.

The opposition of scales at a deep level is also felt in what is reported about both in the conclusion of the story. "She died a long time ago" - says Sanin about Marya Nikolaevna, turning away and frowning Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 381., and in this latently there is a certain drama (especially if we remember that the gypsy predicted her violent death).

All the more, this violent drama is felt against the background of Gemma, grateful to Sanin for the fact that meeting with him saved her from an unwanted groom and allowed her to find her destiny in America, married to a successful merchant, “with whom she has been living for the twenty-eighth year quite happily , in contentment and abundance "Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 383..

Having got rid of all the sentimental, emotional and romantic trappings of Italian (embodied in Frau Lenore, Pantaleone, Emilio and even the poodle Tartaglia), Gemma embodied the model of bourgeois happiness in an American manner, which, in fact, does not differ from the once rejected German version. And Sanin's reaction to these news, which made him happy, is described in a manner for which one can assume the author's irony: “We will not undertake to describe the feelings that Sanin experienced while reading this letter. There is no satisfactory expression for such feelings: they are deeper and stronger - and more indefinite than any word. Music alone could convey them ”Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 383..

Be that as it may, one cannot part with the impression that Sanin's unhappy choice was more correct in another dimension and, having deprived him of quiet family happiness, allowed him to experience a higher spiritual experience T. Tsivyan. Shining motives, - M .: IVK MGU, 2003 P. 37.

Thirty years will pass, and this cat, this tangle, this basket will cause in Sanin such an acute attack of nostalgia - this time not geographic, but temporary - that there will be only one way to get rid of it: by leaving this world and moving to another. “You can hear that he is selling all his estates and is going to America Sonkin V. Rendezvous with nostalgia // Russian Journal - № 13 - 2003..

However, just as “useless nature” in Turgenev turned out to be both tragically soulless and seductive, so love, in Turgenev's understanding, has its reverse, joyful and softening sense of tragedy side.

In First Love (1960), Turgenev reaffirms the understanding of love as inevitable submission and voluntary dependence, as a spontaneous force dominating a person. And at the same time, the main theme of the story is the immediate charm of first love, which does not fade from the accusations that the author raises against this formidable force. In the same way, in "Spring Waters", separated from "First Love" by a whole decade, Turgenev develops the same philosophy of love as a force that subjugates a person, enslaves him, and at the same time admires the beauty of a love feeling, despite the fact that, according to the author's thoughts, this feeling does not bring happiness to a person and often leads him to death, if not physical, then moral. One of the chapters of the novel "Spring Waters" ends with such a lyrical exclamation of the author: "First love is the same revolution: the monotonous and correct structure of the established life is broken and destroyed in an instant, youth stands on the barricade, its bright banner hovers high - and so that there was no waiting for her ahead - death or a new life - she sends her enthusiastic greetings to everything ”(VIII, 301).

In both cases - and tragically feeling his helplessness in the face of indifferent nature, and joyfully experiencing the beauty of such phenomena as nature and love - Turgenev's man equally remains a passive tool outside his underlying forces. He is not the creator of his own happiness and not the organizer of his own destiny. True, in order to understand this, he must, according to Turgenev, go through a long chain of striving for happiness, falls and disappointments. But then, when the sad truth is confirmed through life experience, a person will have no choice but to deliberately abandon claims to personal happiness for the sake of impersonal goals, for the sake of what he considers his moral "duty." Only on this path will he find, if not happiness, then in any case satisfaction, albeit bitter, from the consciousness of the fulfilled duty and the completed labor, entrusted to himself instead of the unrealizable striving for happiness.

An important role is played by Turgenev's so-called "language of flowers", very widespread in the 19th century, according to which each plant had a certain symbolic meaning, and the selection of flowers in a bouquet could "talk". "The language of flowers" helps to reveal the secret meaning of the work, allows you to better understand the characters of the characters, to understand their fate. The gifts of both heroines to Sanin have a symbolic meaning: Gemma gives him a rose, and Polozova gives him an iron ring, a symbol of his power and triumph over him. From the female ring of feelings Polozova's hero was not destined to escape. The author's sympathies are entirely on Gemma's side. And in the soft, elegiac tone of the narrative, and in the description of Gemma's beauty and charm, and in the poetic frame of the story (a small pomegranate cross, presented by Gemma, who at the end and at the beginning of the work examines Sanin, reviving her image in his memory) - in all this one feels the glorification of pure, tender, ideal love. And the thought arises: spring waters are a symbol not only of the transience of human sympathies, affections, feelings, but also a happy youth, beauty, nobility of human relations.

In many of Turgenev's works, a rose appears. In particular, in "Spring Waters" the rose personifies the beauty of the main character: "The line of the shadow stopped just above the lips: they glowed virgin and tender - like the petals of a capital rose ..." The name of the heroine, Roselli, is not accidental in this regard.

In the course of the narrative, the rose plays its intended role, according to its symbolism: it becomes a "sign" of love between Sanin and Gemma. This rose also served as a symbol of purity. But beauty and purity were nearly tarnished. The drunken officer's vulgar escapade, grabbing a flower from the table, jeopardized everything that the rose embodied. The writer notes that Dongof gave this flower to friends one by one to smell. An important detail that allows us to draw a conclusion about how the officers relate to love. Sanin intervened - by this he showed that Gemma was not indifferent to him, that he was going to fight for his love, to defend the purity of feelings. Sanin put the “returned rose” into Gemma's hand. This was followed by a challenge to a duel. But the duel ended in a peace treaty. Perhaps this meant that both for the rose and for the love of Gemma Sanin was not ready to fight to the end.

The duel is preceded by an episode of a night conversation between a young man and a girl, when the heroes suddenly find themselves engulfed in a "sultry whirlwind" of love. The climax is the moment when Gemma gives Sanin this rose, which he won from the offender, as a symbol of his feelings. The writer emphasizes that the heroine took out the flower from behind the bodice, which speaks of the intimacy and depth of the girl's feelings. Gemma anxiously guards the flower from prying eyes. The period of rapid flowering of feelings passes under the “sign” of the rose: for three days Sanin carried it “in his pocket” and endlessly “feverishly pressed it to his lips”.

In the scene of the meeting between Sanin and Gemma, “when instantly, like a whirlwind, love flew into him,” the girl, “taking an already withered rose from her bodice, threw it to Sanin. - "I wanted to give you this flower ..." He recognized the rose that he had won the day before ... "(VIII, 297-298). This red rose is a metaphorical image of Gemma and her life, which the girl gives to Dmitry Sanin.

Rose is one of the external reasons causing Sanin's actions. After the duel, he realizes that he loves Gemma. “He remembered the rose, which he had been carrying in his pocket for the third day already: he snatched it out and pressed it to his lips with such feverish force that he involuntarily winced in pain” (VIII, 314).

Turgenev's story is filled with red roses. They bloom in Gemma's garden, vases decorate her house.

In adulthood, Dmitry Sanin, sorting out old letters, finds a dried flower tied with a faded ribbon. This wilted plant here, on the one hand, symbolizes love, which, after betrayal, turned from a luxurious rose into a withered flower; on the other hand, the ruined life of the hero.

In the story, Sanin is compared to a young, recently grafted apple tree. The apple tree is considered a symbol of life; many Russian fairy tales mention rejuvenating apples - apples that cure all diseases. This comparison by Turgenev is not accidental. Sanin was truly alive, unlike those characters who, according to the author, look like "Flensburg oysters." On the other hand, the apple is a symbol of the Fall. According to biblical tradition, the tempting serpent seduced Eve in paradise with the fruit of an apple tree. Even the icons depicted Eve under a tree of paradise with ruddy apples. In this work, Sanin, tempted by Marya Nikolaevna, plays the role of Eve. The analogy deepens the development of the plot: succumbing to temptation, Sanin was "expelled from paradise" - deprived of the chance to be with Gemma, which means - to taste real happiness, to find true love.

The lilac also helps to reveal the meaning of the story. Near the lilac bushes, Sanin confesses his love to Gemma. Lilac personifies the spring of the soul, the awakening of the first feelings of love. But lilacs are also a symbol of separation. In England, for example, a lilac branch was sent to the groom, with whom the girl for some reason could not tie her fate. In the life of Sanin and Gemma, the lilac, regardless of the intentions of the lovers, exactly played the role of an omen of separation. Even the fact that the action takes place in the summer, when the lilac has already bloomed, is numerous: we understand that this love is initially doomed to failure. "

One more detail is also interesting. When Sanin was waiting for Gemma, he smelled mignonette and white acacias. Reseda is a symbol of heartfelt affection, while acacia is a symbol of romanticism. Their color speaks of the purity and purity of the feeling that has begun.

In the story “Spring Waters” about Marya Nikolaevna Polozova it is said: “Polozova was constantly rushing about ... no! did not rush - stuck out ... in front of his eyes - and he could not get rid of her image<...>I could not help but feel that special smell, delicate, fresh and piercing, like the smell of yellow lilies, which breathed from her clothes ”.

Lily, according to scientific classification, belongs to the "nymphaean" family. This name is associated with an ancient Greek legend, according to which a nymph who died from unrequited love for Hercules turned into a beautiful water flower. Lilies have long been surrounded by a romantic halo: according to Western European legends, they served as a shelter for elves; the Slavs considered them to be Russian flowers, the properties of a love potion were attributed to their roots. Turgenev mentions not a white, but a yellow lily. The color yellow is associated not with purity and sublimity, but with the idea of infidelity, of bitter disappointment. The smell of yellow lilies, which haunts Sanin at the thought of Polozova, acts as an omen of his betrayal and subsequent regrets about the failed happiness with Gemma. In relation to Polozova, the smell of yellow lilies acts as a sign of deceit.

Polozova's husband in the story "Veshnie Vody" ate "orange meat" at dinner. Orange Blossom - Orange Blossom is a wedding flower, a symbol of purity, love and good intentions. The mention not of a flower, but of the “meat” of the fruit suggests that romantic feelings, lofty impulses are not inherent in the nature of the hero. His interests are purely gastronomic. And a man whose all thoughts are focused on food, in the eyes of the writer, is swine-like. Therefore, Turgenev notes that Polozov has “pig's eyes” and “bulging thighs”.

“Animal” comparisons also play an important role in Turgenev's stories. For example, Sanin is compared to a well-groomed, smooth, fat-legged, gentle three-year-old. Here we can see an analogy with the ancient legend, which tells that once the horses were free and did not recognize any power over themselves. They could even gallop to heaven. Only then the horses were captured by the gods and lost their abilities. So Sanin: having submitted to Marya Nikolaevna, he lost access to “heaven,” that is, to holy love and truly heavenly happiness that Gemma could give him.

In the episode describing the hero's love experiences, Sanin is likened by the author to a moth: "The hero's heart beat as easily as a moth that clung to a flower and drenched in the summer sun beats with its wings." I think it was Gemma with her radiant love who was the sun for him. This comparison is realized in the further development of the plot. As you know, at night a bright light can serve as a bait for a moth. But the flame is dangerous to a moth and even often fatal. So Sanin, having fallen for the bait of Marya Nikolaevna, as they say, “burned his wings”.

But Herr Kluber resembles a trimmed poodle. Usually a dog is a symbol of devotion and fidelity, but here the poodle is mentioned - a decorative, indoor dog. This comparison carries, quite obviously, a negative assessment of the hero from the side of the author. Here you can see a hint of the character's spiritual limitations, the inability to take bold actions. As we remember, Kluber did not defend the honor of his bride, he chickened out in front of Dongoff.

In the story "Spring Waters" Marya Nikolaevna is accompanied by "predatory" comparisons. "These gray predatory eyes, these serpentine braids." The latter once again convinces the reader that Marya Nikolaevna will play the role of a tempting snake in the work. Her surname is also “speaking” - Polozova. (The snake is a snake of the snake family, rather large and strong.) In another episode, Polozova is compared to a hawk. The comparison reveals the predatory nature of the heroine: “She slowly fingered and twisted this unrequited hair, she straightened herself, triumph snaked on her lips, and her eyes, wide and light to whiteness, expressed the one merciless stupidity and satiety of victory. A hawk that claws a caught bird has such eyes. ” It becomes clear that she does not need Sanin himself, all that is important to her is the victory in the bet concluded between her and her husband.

Another climax comes in the story when Sanin, when asked Polozova: “Where are you going? To Paris - or to Frankfurt? "He answers with despair to his sovereign with the following words:" I am going where you will be - and I will be with you until you chase me away. "

It should be noted that at this moment there comes a kind of denouement of the story. Everything has disappeared. Again before us is a lonely, middle-aged bachelor, sorting out old papers in drawers of a writing desk ...

Why did this happen with all the selfless heroism of his nature? Is Marya Nikolaevna to blame? Unlikely. It's just that at the decisive moment he could not fully understand the situation and obediently allowed himself to be manipulated and disposed of. Easily became a victim of circumstances, not trying to master them.

Just as complete happiness is not given to a private person in his personal life, Turgenev believed, so complete freedom is not destined for a public person in his historical life. And here and there, he assured, one had to be content with small, incomplete happiness and limit one's aspirations. Life cannot be changed, one can only adapt to it expediently; naively strive for sharp and sudden turns, one can only count on slow, gradual changes.

In "Spring Waters" the writer goes back to the old days, immerses himself in memories, as if defiantly separates himself from modernity, from topical issues, and even likes to emphasize this. When he was reproached for the out-of-dateness of the story "Strange Story", he replied: "You bet! - yes, I, perhaps, will grab even further back. ”Letter to M. V. Avdeev dated January 25, 1870. "Russian antiquity", 1902. - book. 9-p. 497..

However, upon closer examination, it turns out that in his memoirs Turgenev "had enough back" not at all in order to move away from modernity. His "Literary and Everyday Memoirs" testifies to this with full evidence. Both contemporaries and later critics drew attention to the fact that in these memoirs, Turgenev, resurrecting images of the past, in particular the great image of Belinsky, was very far from dispassionate chronicle writing. In the past, he looks for the origins of modernity, at times he illuminates the figures of people of the 40s in such a way that they look like a reproach to the revolutionary democrats of the 60s. Arguing with them, Turgenev seeks to present Belinsky as a deeper and at the same time more cautious thinker than the historical successors of his cause - Chernyshevsky and Dobrolyubov. And the closeness of Turgenev himself to Belinsky serves as a kind of argument proving the right of Turgenev to pronounce sentences with full authority over the phenomena of current literary and social life.

Conclusion

In a letter sent to New York from Frankfurt, Sanin wrote of his "lonely and bleak life." Why did this happen with all the selfless heroism of his nature? Is it fate to blame? Or Marya Nikolaevna herself? Unlikely.

It's just that at the decisive moment he could not fully understand the situation and obediently allowed himself to be manipulated and disposed of. Easily became a victim of circumstances, not trying to master them. How often does this happen - with individuals; sometimes with groups of people; and sometimes even on a national scale. It is worth remembering the phrase: "Do not create an idol for yourself ...".

Everything is accidental and transient in life: chance brought Sanin and Gemma together, chance broke their happiness. However, whatever the end of the first love, it, like the sun, illuminates a person's life, and the memory of it will remain forever with him as a life-giving principle.

"Spring Waters" is a story of love. Love is a powerful feeling, before which a person is powerless, as well as before the elements of nature. In his usual manner, Turgenev traces the emergence and development of love in Gemma, from the first vague and disturbing feelings of it, from the heroine's attempts to resist and overcome the growing feeling for an impulse of selfless passion, ready for everything. As always, Turgenev does not illuminate the entire psychological process for us, but dwells on individual, but crisis moments, when the feeling accumulating inside a person suddenly manifests itself outside - in a look, in actions, in a fit. A deep and moving lyricism permeates the story.

Similar documents

Disclosure of the artistic skill of the writer in the ideological and thematic content of the work. The main plot lines of the story by I.S. Turgenev "Spring Waters". Analysis of the images of the main and secondary characters, reflected in the textual characteristics.

term paper, added 04/22/2011

"Berlin period" I.S. Turgenev. The theme of Germany and the Germans in the works of Turgenev. Spatial organization of the stories "Asya" and "Spring Waters". Topos of a provincial town in the story "Asya". Topos of the inn. Chronotope of the road: real-geographical toposes.

term paper added 05/25/2015

A brief biographical note from the life of I.S. Turgenev. Education and the beginning of the literary activity of Ivan Sergeevich. Personal life of Turgenev. The writer's works: "Notes of a Hunter", the novel "On the Eve". Public reaction to the work of Ivan Turgenev.

presentation added on 06/01/2014

Biography of I.S. Turgenev and the artistic originality of his novels. Turgenev's concept of man and the composition of female characters. The image of Asya as the ideal of the "Turgenev girl" and the characteristics of the two main types of female images in the novels of I.S. Turgenev.

term paper, added 06/12/2010

The problem of the composition of "mysterious stories" and genre originality, the writer's creative method, literary parallels and cultural and philosophical roots. The beginning of literary comprehension of works. Poetics of Turgenev's realistic stories of the 60s – 70s.

thesis, added 10/21/2014

The history of the Turgenev family from the time of Ivan the Terrible. Education, training in Germany, Ivan Sergeevich, the beginning of literary activity. Review of creativity, the main works of the writer. The significance of Turgenev's personality and his activities for Russian literature.

presentation added on 12/20/2012

Lexical means of a work of art as a sign of its chronotope. Using vocabulary to create artistic images. Techniques for describing characters in a story by the author. Reflection of the value system of the writer through the display of the objective world.

term paper, added 05/26/2015

Analysis of N.A. Nekrasov Ponaevsky cycle - thematic and artistic originality. Analysis of poems in prose by I.S. Turgenev. The desire of A.P. Chekhov's play "The Seagull" to discuss the problem of art, its essence, purpose, traditions and innovation.

test, added 02/03/2009

The role of Turgenev's work in the history of Russian and world literature. The formation of the aesthetic views of the writer and the peculiarities of the Turgenev style: narrative objectivity, dialogicity and psychological implications. Genre originality of the writer's prose.

thesis, added 03/17/2014

The essence and history of fiction as a genre of fiction, its types, genres and forms. Methods of Literary Placement P. Merimee. Elements of fiction in the "mysterious stories" of I.S. Turgenev. Comparative analysis of the fantastic worlds of writers.

Can you live your life without making mistakes? The question is rhetorical. Of course not! Each person makes mistakes, only some people can admit it, draw conclusions and move on with life, while others consider themselves infallible and, as a result, step on the same rake. Errors are also different. It happens that a mistake can be corrected, and sometimes it leads to fatal consequences. Should a person in this case reproach himself all his life? No, we need to draw the right conclusions and move on.

In Russian literature, we often see heroes who commit fatal acts and then repent of this all their lives. For example, in the story of I.S. Turgenev's "Spring Waters" the hero of the work, Dmitry Sanin, being engaged to a beautiful girl, is carried away by another, abandons his bride and then remains alone until the end of his life. All his remaining years are regret about the perfect deed and the understanding that nothing can be fixed. Why did such a situation become possible? The thing is that the hero of the story, as is often the case in the works of Turgenev, is a weak, spineless man who succumbed to the spell of a beautiful, self-confident strong predator who turns men as he wants. Moreover, he does not love her, but loves Dyasemma, but due to the gentleness of his character, he cannot resist Polozova. What is Sanin's mistake? I would not call the break with Gemma a mistake, it came from Sanin's character, it was initially clear that he needed a woman who would lead him, lead him. Sanin's regrets about what happened are very bitter, but he does not want to understand that this naturally follows from his spinelessness. He cannot make a woman happy, and for Gemma it is probably better that their breakup happened and she married another.

One can only sigh with Sanin and enjoy the poetry of Turgenev's prose.

In the story of A.P. Chekhov's "On Love" the situation is different. The hero fell in love with a married woman, he understands that she also loves him. But he cannot confess his love to her, he reflects on the fact that he has nowhere to lead her, he is an ordinary person, he can only offer her an even more ordinary, gray life. Moreover, they will not be able to fight for their love. And only when Alekhine says goodbye to Anna Alekseevna, he confesses his love to her and realizes how petty and deceptive it was that prevented them from loving, that it was necessary to proceed from something more important in his reasoning about love. He realizes his mistake, but, unfortunately, nothing can be fixed.

We sympathize with the heroes of Turgenev and Chekhov, but we do not blame them, because they did what they could. Yes, they were wrong, but their life did not end with these mistakes, they lived on. Maybe without these mistakes life would be monotonous and insipid, nothing would happen in it. Everyone has the right to make mistakes.

PHILOLOGICAL SCIENCES

EA. Basova

Scientific adviser: Doctor of Philology, Professor N.V. Volodina SPECIFIC STORY OF I.S. TURGENEVA "VESHNIE WATER"

The article discusses the specifics of the narrative and the functions of the prologue and epilogue in the works of I.S. Turgenev on the example of the story "Spring Waters". The interrelation of these elements in the work of Turgenev is natural and systematic.

Prologue, epilogue, structure, narration, function, composition.

The article considers the specifics of the narrative and the function of prologue and epilogue in I.S. Turgenev "s works on the example of the story" Torrents of Spring ". The relationship of these elements in Turgenev" s works is considered to be logical and is of systematic character.

Prologue, epilogue, structure, narrative, function, composition.

In the late 1860s - the first half of the 1870s. Turgenev wrote a number of stories about the distant past: "Brigadier", "The Story of Lieutenant Ergunov", "Unhappy", "Strange Story", "Steppe King Lear", "Knock, Knock, Knock", "Spring Waters", "Punin and Baburin "," Knocks ", etc. The story" Spring Waters "became the most significant work of this period.

The story is preceded by an epigraph - a quatrain from an old Russian romance:

Happy years, Happy days - Like the spring waters They rushed.

Judging by this framework component of the text, it will be about love, about youth, and, moreover, about the memories associated with them.

The epigraph sets a lyrical emotional tone, sets the reader up to reflect on the transience of human existence, the transience of love and happiness. The story has a prologue, compositionally highlighted by Turgenev himself, and an epilogue, which includes the last two chapters. The narration in the main action is built as the memories of the protagonist, Dmitry Pavlovich Sanin, about the events of thirty years ago that happened in his life when he traveled across Europe.

The prologue is narrated from the third person. The story begins with determining the time of the events taking place at the moment and describing the state of the hero: “... At two o'clock in the night, he returned to his office. He sent a servant who lit candles, and, throwing himself into an armchair near the fireplace, covered his face

with both hands. " Throughout the entire prologue, the name of the hero is not called; the personal pronoun “he” is used to denote it, and the direct representation of the main character occurs only at the end of this fragment of the text: “But you must first say his name, patronymic and surname. His name was Sanin, Dmitry Pavlovich. " In the prologue, there is neither a description of his appearance, nor a story about his occupation, only Sanin's age is named - he is fifty-two years old. The main content of this plot element of the story is the description of the mental, psychological, emotional state of the character. Everything indicates that Sanin is in a state of deep skepticism: he experiences feelings of disappointment, bitterness and even "disgust for life." At first, this becomes clear from the directly author's characterization of the hero; then - from the reflections of Sanin, presented in the text as an organic combination of the author's words and improperly direct speech. The narrator speaks about the very process of this thinking, its psychological coloring: "... slowly, sluggishly and viciously" - and further elaborately depicts the content of this process of the hero's thought. Sanin's reflections on his own destiny are combined here with an assessment of a person's life as a whole: “He has never felt such fatigue - bodily and mental<...>never before that "disgust for life" - with such an irresistible force did not take possession of him, did not choke him<...>bitterness, acrid and pungent, like the bitterness of wormwood, filled his whole soul. Something obtrusively hateful, disgustingly heavy surrounded him on all sides, like an autumn, dark night; and he did not know how to get rid of this darkness, this bitterness. There was nothing to count on sleep: he knew that he would not fall asleep. "

The prologue presents the point of view of an adult, experienced, wise person. He is not capable of such reflections and assessments in his youth. The psychological state of Sanin, as Turgenev shows, leads him to reflect on his past and present; and his thoughts are colored with the same emotional tone. He begins to analyze - "about vanity, uselessness, about the vulgar falseness of everything human." The epithets characterizing the very nature of the hero's thoughts indicate dissatisfaction with life, regret about how his fate developed. Sanin recalls different periods of his life, involuntarily moving to the level of generalizations, and more and more convinced of the meaninglessness of human existence: “Everywhere is the same eternal pouring from empty to empty, the same pounding of water, the same half conscientious, half conscious self-delusion ... - and then suddenly, as if it were snowing on your head, old age will come - and along with it ... the fear of death. and thump into the abyss! " ... In the hero's reflections, a metaphor arises that likens human life to the sea: “he imagined this sea imperturbably smooth, motionless and transparent to the darkest bottom; he himself sits in a small, fallen boat - and there, on this dark, muddy bottom, like huge fish, ugly monsters can hardly be seen: all everyday ailments, illnesses, sorrows, madness, poverty, blindness ... He looks - and this is one thing from monsters it stands out from the darkness, rises higher and higher, becomes more and more distinct, more and more disgustingly more distinct. Another minute - and the boat propped up by him will capsize! But here it again seems to grow dim, it recedes, sinks to the bottom - and it lies there, slightly stirring the reach ... But the right day will come - and it will turn the boat over. " The image of visions, the subconscious is a sign of the late period of Turgenev's work, in particular, his "mysterious stories". Comprehending "Turgenev's experience of" mystical breakthroughs "into the realm of the supersensible", V.N. Toporov finds its basis in the spiritual nature of the writer himself: “. the source of the mystical was inside Turgenev himself ...<...>This mystical was most often revealed to Turgenev in the mystery of life and death, and one of the most frequent and specific forms of manifestation of the mystical were dreams. " ...

In the final part of the prologue, the author describes Sanin's accidental impulse, an action that turns out to be almost subconscious: he sat down at his desk, began rummaging through his papers, in old women's letters, “intending to burn this unnecessary trash”. Suddenly he "cried out weakly": in one of the boxes there was a box in which there was a small pomegranate cross. He sat down in an armchair by the fireplace - and again covered his face with his hands. “And he remembered a lot that had long passed. That's what he remembered. " ... The cross mentioned in the prologue of the story turns out to be an artistic detail that carries an extremely important emotional and content load. He was the reason

for the hero's memories of a long-standing event in his past, an event that, as it becomes clear in the epilogue, was the best in his life. Note that the details fulfill the function of "keepers of memory" in Turgenev's works. So, for example, the hero of the story "Asya", Mr. NN, kept the dried geranium flower that Asya once threw to him from the window all his life.

The main event of the main part of "Spring Waters" is the story of the hero's love experienced in his youth. The first chapter is an exposition, which specifies that Sanin was then twenty-two years old, "he was with a small fortune, but independent, almost familyless." The events of the story take place over the course of several months, in the summer of 1840, when Sanin, returning from Italy, stopped briefly in Frankfurt. There, Sanin falls in love with the beautiful Italian woman Gemma Roselli and suddenly cheats on her. It turns out that love for Gemma was the main event of his life, and his connection with Polozova was a turn towards a "joyless existence."

The main plot line in the story is revealed in the sequence that is traditional for Turgenev's work: first, a short exposition depicting the environment in which the heroes live, then - the plot, then the action develops, the lovers overcome obstacles on the way to their happiness, finally, the moment of the highest tension of action comes (explanation of the heroes), followed by a catastrophe, and after it an epilogue [see: 11].

The story is based on a traditional love triangle. The hero is unable to commit a decisive act and obeys passion. In a sense, it is he who suffers the main defeat, losing true love and not gaining anything in return.

At the beginning of the story, Sanin looks heroic: he saved Emil's life, fought a duel for the honor of the girl. Gemma's betrayal, therefore, cannot be motivated by Sanin's moral depravity. The reasons for it are different: the hero of "Spring Waters" was unable to discern the true feeling in view of his youth, inexperience, lack of self-confidence. The fact that Sanin turned out to be a slave to passion after experiencing love for Gemma probably testifies to this person's ability to blindly obey the flow of life and its whims. The spontaneity of feelings, passion, love is emphasized. From the point of view of common sense, a woman like Polozova is cunning, cruel, calculating, without moral principles, not worthy of love. Asya, it is easy to love Gemma, it is difficult to love a vicious woman, and the hero understands this. A similar situation is described by Turgenev in his other works, for example, in the story "Brigadier", the hero loves a cruel, domineering woman all his life, becoming her slave.

Description of the portrait of Sanin appears only in Chapter XIV: “First, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, affectionate blue eyes-

ki, golden hair, whiteness and blush of skin - and most importantly: that simple-hearted, cheerful, trusting, frank, at first somewhat stupid expression, according to which in the old days it was possible to recognize the children of staid noble families, good barichi. finally, freshness, health - and softness, softness - here is all Sanin for you. "

The portrait of the hero is both attractive and ironic. The author portrays Sanin in the main part of the story as a kind, sympathetic and at the same time shallow, superficial person. He can be condemned and pitied.

In Gemma, Turgenev embodies the image of a sincere and spontaneous girl. In the image of Polozova, Turgenev strove to emphasize the cunning, cruelty and baseness of her nature. So, for example, her eyes are called "greedy"; in his address to Sanin, the author uses the expression “she ordered almost rudely”; and in the characterization that Maria Nikolaevna gives to herself during the first conversation with Sanin, the phrase sounds: “I don’t spare people,” and others. Marya Nikolaevna is an imperious and strong-willed person. I. Annensky drew attention to this when he said that Turgenev's beauty is "the most genuine power." Among the men - the victims of this beauty - Annensky also names Sanin.

Love in the works of Turgenev is a "multidimensional concept" with which mystery and suffering, illness and death, inevitable fate and beauty are associated. It appears as "a fatal passion or as a sublime romantic feeling, ideally containing the natural and spiritual." In "Spring Waters" Turgenev develops the same philosophy of love as a force that subjugates a person, enslaves him, as in the stories "First Love", "Brigadier" [see: 4, 6, 7, 8, 10]. At the same time, the author admires the beauty of a love feeling, despite the fact that, in his opinion, this feeling does not bring happiness to a person and often leads him to death, if not physical, then moral. XXUSH chapter of the novel "Spring Waters" begins with a metaphorical comparison: "First love is the same revolution: the monotonous and correct system of the established life is broken and destroyed in an instant, youth stands on the barricade, its bright banner hovers high - and whatever is ahead of it neither was it waiting for death or a new life - she sends her enthusiastic greetings to everything. "

The epilogue of the story is motivated by the main part. The composition of the epilogue consists of two chapters, which are structurally separated. The epilogue begins with words that bring the reader and the narrator back to the present, the time of the story: "This is what Dmitry Sanin recalled when, in the silence of his office, sorting out his old papers, he found a pomegranate cross between them." Thus, the cross is an artistic detail that is important for the development of the plot, since it serves as a reason for memories. The content of the epilogue can be conditionally

split into several parts. First, it describes the feelings of the hero, which he has experienced many years after the events that took place. The point of view of the narrator is given: “Shame strangled him - even now, so many years later; he was afraid of that feeling of irresistible contempt for himself, which, he could not doubt it, would surely rush over him and flood, like a wave, all other sensations, as soon as he did not command his memory to be silenced.

Comparison of the strength of Sanin's feeling of shame, which he experiences at the moment of recollection, with the "wave" testifies to emotional experiences and the realization of his mistake. Secondly, further events are succinctly described, completing the semantic storyline with Gemma and Polozova: "a trashy, tearful, deceitful, pitiful letter sent by him to Gemma, a letter that remained unanswered ...", a shameful flight from Frankfurt after Polozova, “life in Paris and all the humiliations, all the nasty torments of a slave who is not allowed to be jealous or complain and who is finally thrown away like worn-out clothes ... Then - returning to his homeland, a poisoned, devastated life.”

The word “memories” is the key word in the epilogue, they “pop up” like frames in Sanin's head. Here the point of view of the hero himself is connected in the form of improperly direct speech, his assessment appears, and the combination of two opinions takes place. The culmination of the epilogue is the author's text: "The bowl is full - that's enough!" , as a result of which a number of questions arise: “How did the cross given to Sanin by Gemma survive, why did he not return it, how did it happen that until that day he had never come across it? For a long, long time he sat in thought and - already taught by experience, after so many years - he still could not understand how he could leave Gemma, so tenderly and passionately loved by them, for a woman whom he did not love at all? .. " ... The essence of the hero's life revelation is that "the happiness of love is just as tragically instantaneous as human life, but it is the only meaning and content of this life." Memories and a surging feeling of self-loathing arouse a desire for action in Sanin, he announces to his friends that he is going abroad. The events described in the last chapter relate to the present time, and the narration is carried out on behalf of the author. The hero returns to Frankfurt thirty years later. The city, seen by Sanin, changed beyond recognition: "Sanin wandered like a madman in places that were once so familiar, and did not recognize anything." After a long search, the hero learns that Gemma got married and moved to New York. He manages to get her address. After so many years of inaction, Sanin was more resolute than ever in his life. He writes a letter to Gemma, in which he asks for forgiveness for his deed, tells her his life, “lonely, familyless,

joyless; beckons her to understand the reasons that prompted him to turn to her, to prevent him from carrying to the grave the woeful consciousness of his guilt - long suffered, but not forgiven - and to please him with even the shortest news about how she lives in this new world, where she has retired ". After six weeks of agonizing wait, Sanin receives an answer. This meant that he was forgiven. The author describes the emotional state of the hero at this moment: "Tears gushed from his eyes." After so many years, Sanin feels calm and peaceful, he received forgiveness thanks to his decisiveness and sincerity, which he lacked so much in his youth. The sweetness of the experienced feeling inspired Sanin. He sends Gemma's daughter, Marianna, like two drops of water like a mother, as a gift "a pomegranate cross, trimmed into a magnificent pearl necklace."

This artistic detail, which appeared in the prologue of the story as a reason to remember the story of first love, plays an important role in the epilogue. The pomegranate cross makes it possible for Sanin to thank Gemma for the hope of forgiveness and finding peace.

The ending of the story remains open: "It is heard that he is selling all his estates and is going to America."

Literature

1. Annensky, I. Symbols of beauty among Russian writers / I. Annensky // Annensky I. Books of reflections. -M., 1979.

2. Golubkov, V.V. The artistic skill of I.S. Turgeneva / V.V. Golubkov. - M., 1955.

3. Ermakova, N.A. The landscape of death in the works of I.S. Turgeneva / N.A. Ermakova // Criticism and semiotics. -Novosibirsk, 2010. - No. 14.

4. Kurlyandskaya, G.B. The concept of love in the work of Turgenev / G.B. Kurlyandskaya // Spassky Bulletin. - Tula, 2005. - Issue. 12.

5. Kurlyandskaya, G.B. The aesthetic world of I.S. Turgeneva / G.B. Courland. - Eagle, 1994.

6. Nedzvetsky, V.A. Love - cross - duty, (the story of I.S.Turgenev<Ася>) / V.A. Nedzvetsky // From Pushkin to Chekhov. - M., 1999.

7. Petrovsky, M.A. Mysterious at Turgenev / M.A. Petrovsky // Creativity of Turgenev: collection of works. Art. / ed. I.N. Rozanova, Yu.M. Sokolov. - M., 1920.

8. Pustovoit, P.G. I.S. Turgenev - artist of words / P.G. Pustovoit. - M., 1987.

9. Senkina, Yu.N. Turgenev's concept of love as interpreted by scientists / Yu.N. Senkina // Bulletin of the Russian State Pedagogical University. A.I. Herzen. - No. 101. - St. Petersburg, 2009.

10. Toporov, V.N. Strange Turgenev (Four chapters) / V.N. Toporov. - M., 1998.

11. Turgenev, I.S. Spring waters / I.S. Turgenev // Turgenev I.S. Full collection op. and letters: in 12 volumes. T. 8. - M., 1980.

F. Vetrov, TA. Vetrova

INSTITUTIONAL CHARACTERISTICS OF THE DISCOURSE OF BUSINESS JOURNALS:

CONSTITUTIVE ASPECT

The work was carried out within the framework of the federal target program "Scientific and scientific-pedagogical innovative Russia" for 2009 - 2013,

agreement No. 14.132.21.1044

The article is devoted to the analysis of the basic institutional characteristics of the component of media discourse - the discourse of business magazines.

Discourse, media discourse, business magazine.

The article is devoted to the analysis of basic institutional characteristics of the component of media discourse that is the discourse of business magazines.

Discourse, media discourse, business magazine.

The media discourse is usually viewed as institutional discourse (in the terminology of V.I.Karasik), which makes it possible to capture the stereotyped communication, the role attitudes of agents and clients, and symbolic actions. Although modern media are gradually coming to the blurring of the line between everyday and institutional communication (of course, not the last place is occupied by online

Media and Internet communication in general). Since the material of our article is the texts of a printed publication, the issue of institutionalization - personality does not prevent us from using the basic scheme of analysis of a specific discourse by V.I. Karasik (components of institutional discourse) for analyzing mass media discourse in terms of business media: 1) participants, 2) chronotope, 3) goals, 4) valuable

CHARACTERS IN THE STORY

Sanin is the main character of "Spring Waters"

First, we note once again that the conflict in the story, and the selection of characteristic episodes, and the ratio of characters - everything is subordinate to one main task of Turgenev: an analysis of the psychology of the noble intelligentsia in the field of the personal, intimate life of A.I. Batuto. Turgenev is a novelist. - L., 1972. - P. 270 .. The reader sees how the main characters get to know each other, love each other and then disperse, how other characters take part in their love story.

The protagonist of the story is Dmitry Pavlovich Sanin, at the beginning of the story we see him already 52 years old, remembering his youth, his love for the girl Dzhema and his uncompleted happiness.

We immediately learn a lot about him, the author tells us everything without concealment: “Sanin was 22 years old, and he was in Frankfurt, on his way back from Italy to Russia. He was a man with a small fortune, but independent, almost familyless. After the death of a distant relative, he had several thousand rubles - and he decided to live them abroad, before entering the service, before the final imposition of that official clamp, without which a secure existence became inconceivable for him. " Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12 - M., 1986. - P. 96.

In the first part of the story, Turgenev shows the best that was in Sanin's character and that captivated Gemma in him. In two episodes (Sanin helps Gemma's brother, Emil, who has fallen into a deep swoon, and then, defending Gemma's honor, fights a duel with the German officer Döngoff), Sanin's traits such as nobility, straightforwardness, and courage are revealed. The author describes the appearance of the protagonist: “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, gentle bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that innocently cheerful, trusting, frank, at first somewhat silly expression, by which in the old days it was immediately possible to recognize children of staid noble families, "fatherly" sons, good barichi, born and fattened in our free semi-steppe lands; a gait with a stammer, a voice with a lash, a smile like a child's, as soon as you look at him ... finally, freshness, health - and softness, softness, softness - here's all of Sanin. And secondly, he was not stupid and had picked up something. He remained fresh, despite the trip abroad: the disturbing feelings that overwhelmed the best part of the young people of that time were little known to him. ”Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Compositions: in 12 volumes - T. 12 - M., 1986. - P. 110 ..

Special attention should be paid to the peculiar artistic means that Turgenev uses to convey intimate emotional experiences. Usually this is not a characteristic of the author, not statements of the heroes about themselves - for the most part, these are external manifestations of their thoughts and feelings: facial expression, voice, posture, movements, manner of singing, performance of favorite pieces of music, reading of favorite poems. For example, the scene before Sanin's duel with the officer: “Once a thought struck him: he stumbled upon a young linden tree, broken, in all likelihood, by yesterday's squall. She was positively dying ... all the leaves on her were dying. "What is this? An omen?" - flashed through his head; but he immediately began to whistle, jumped over that very linden, walked along the path. ”Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Compositions: in 12 volumes - T. 12 - M., 1986. - P. 125 .. Here the state of mind of the hero is conveyed through the landscape.

Naturally, the hero of the story is not unique among other Turgenev characters of this type. One can compare “Spring Waters”, for example, with the novel “Smoke”, where researchers note the closeness of plot lines and images: Irina - Litvinov - Tatiana and Polozova - Sanin - Gemma. Indeed, in the story, Turgenev seemed to have changed the novel's ending: Sanin could not find the strength to abandon the role of a slave, as was the case with Litvinov, and followed Maria Nikolaevna everywhere. This change in the finale was not accidental and arbitrary, but was precisely determined by the logic of the genre. Also, the genre actualized the prevailing dominants in the development of the characters of the heroes. Sanin, in fact, like Litvinov, is given the opportunity to "build" himself: and he, outwardly weak-willed and spineless, wondering at himself, suddenly begins to act, sacrifices himself for the sake of another - when he meets Gemma. But the story does not satisfy this quixotic trait, in the novel it dominates, as in the case of Litvinov. In the "characterless" Litvinov, it is precisely the character and inner strength that is actualized, which is realized, among other things, in the idea of social service. And Sanin turns out to be full of doubts and contempt for himself, he, like Hamlet, "a sensual and voluptuous person" Batuto A.I. Turgenev is a novelist. - L., 1972. - S. 272. - it is Hamlet's passion that wins in him. He is also crushed by the general course of life, unable to resist it. Sanin's life revelation is consonant with the reflections of the heroes of many of the writer's stories. Its essence lies in the fact that the happiness of love is just as tragically instantaneous as human life, but it is the only meaning and content of this life. Thus, the heroes of the novel and the story, initially revealing the same properties of character, in different genres realize different dominant principles - either quixotic or Hamlet. The ambivalence of qualities is complemented by the dominance of one of them.

Sanin can also be correlated with Aeneas (with whom he is compared) - the main character of the work "Aeneid", which tells about the journey and the return of the wanderer to his homeland. Turgenev has persistent and repeated references to the text of the Aeneid (the thunderstorm and the cave in which Dido and Aeneas took refuge), that is, to the “Roman” plot. "Aeneas?" - Marya Nikolaevna whispers at the entrance to the guardhouse (that is, the cave). A long forest path leads to it: “<…>the shadow of the forest covered them broadly and softly, and from all sides<…>track<…>suddenly turned aside and plunged into a rather narrow gorge. The smell of heather, pine resin, dank, last year's foliage lurked in it - thick and drowsy. Freshness gushed from the crevices of large brown stones. On both sides of the path were round hillocks overgrown with green moss.<…>A dull tremor swept through the tops of the trees, through the forest air<…>this path went all the way into the depths of the forest<…>Finally, through the dark green of spruce bushes, from under a canopy of gray rock, a wretched guard house with a low door in a wicker wall looked at him ... ". Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12 - M., 1986. - S. 175.

In addition, one more thing brings Sanin closer to Aeneas: Aeneas, in search of the way home, falls into the arms of Queen Dido, forgets about his wife and is given love in the arms of a seductress, the same thing happens with Sanin: he forgets about his love for Gemma and succumbs to a fatal passion women Marya Nikolaevna, which ends in nothing.

INTRODUCTION

CHAPTER 1. THE THEMATIC CONTENT OF THE STORY I.S. TURGENEVA "VESHNIE WATER"

CHAPTER 2. IMAGES OF THE MAIN AND SECONDARY CHARACTERS IN THE STORY

2.2 Female characters in the story

2.3 Minor characters

CONCLUSION

LITERATURE

INTRODUCTION

In the late 1860s and the first half of the 1870s, Turgenev wrote a number of stories that belonged to the category of memories of the distant past ("Brigadier", "The Story of Lieutenant Ergunov", "Unhappy", "Strange Story", "King Lear of the Steppe", "Knock, knock, knock", "Spring Waters", "Punin and Baburin", "Knocks", etc.). Of these, the story "Spring Waters", the hero of which is another interesting addition to Turgenev's gallery of weak-willed people, has become the most significant work of this period.

The story appeared in Vestnik Evropy in 1872 and was close in content to the stories “Asya” and “First Love, written earlier: the same weak-willed, reflective hero, reminiscent of“ superfluous people ”(Sanin), the same Turgenev girl (Gemma ), experiencing the drama of unsuccessful love. Turgenev admitted that in his youth he "experienced and felt the content of the story personally." But unlike their tragic endings, Spring Waters ends in a less dramatic plot. A deep and moving lyricism permeates the story.

In this work, Turgenev created images of the outgoing noble culture and new heroes of the era - commoners and democrats, images of selfless Russian women. And although the characters in the story are typical Turgenev's heroes, they still have interesting psychological traits, recreated by the author with incredible skill, allowing the reader to penetrate into the depths of various human feelings, experience them or remember them himself. Therefore, it is necessary to consider the figurative system of a small story with a small set of characters very carefully, relying on the text, without missing a single detail.

Therefore, the purpose of our course work is to study in detail the text of the story to characterize its figurative system.

The object of study is, therefore, the main and secondary characters of "Vernal waters".

Subject: artistic embodiment by the author of images in the story.

The purpose, object and subject determine the following research objectives in our course work:

- consider the ideological and thematic content of the story;

- to identify the main plot lines;

- consider the images of the main and secondary characters of the story, based on textual characteristics;

- to draw a conclusion about the artistic skill of Turgenev in the depiction of the heroes of "Vernal waters".

The theoretical significance of this work is determined by the fact that criticism of the story "Outer Waters" is mainly considered from the standpoint of problem-thematic analysis, and from the entire figurative system, the Sanin - Gemma - Polozov line is analyzed, in our work we have attempted a holistic figurative analysis of the work.

The practical significance of our work lies in the fact that the material presented in it can be used in the study of Turgenev's work as a whole, as well as for the preparation of special courses and optional courses, for example, “The Stories of I.S. Turgenev about love ("Spring Waters", "Asya", "First Love", etc.) or "Tale of Russian Writers of the Second Half of the 19th Century", and when studying the general university course "History of Russian Literature of the 19th Century".

CHAPTER 1. IDEA-THEMED CONTENT OF THE STORY

I.S. TURGENEVA "VESHNIE WATER"

The figurative system of a work directly depends on its ideological and thematic content: the author creates and develops characters in order to convey an idea to the reader, to make it “alive”, “real”, “close” to the reader. The more successfully the images of the heroes are created, the easier it is for the reader to perceive the thoughts of the author.

Therefore, before proceeding directly to the analysis of the images of the heroes, we need to briefly consider the content of the story, in particular, why the author chose these, and not other characters.

The ideological and artistic concept of this work determined the originality of the conflict underlying it and a special system, a special relationship of characters.

The conflict on which the story is based is the clash of a young man, not entirely ordinary, intelligent, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong in spirit, whole and strong-willed .

The central part of the plot is the origin, development and tragic ending of love. It is to this side of the story that Turgenev's main attention, as a writer-psychologist, is directed, in the disclosure of these intimate experiences, and his artistic skill is mainly manifested.

In the story, there is also a link to a specific historical passage of time. So, the meeting of Sanin with Gemma belongs to the author in 1840. In addition, Veshniye Vody contains a number of everyday details typical of the first half.XIXcentury (Sanin is going to travel from Germany to Russia in a stagecoach, postal carriage, etc.).

If we turn to the figurative system, we should immediately note that along with the main storyline - the love of Sanin and Gemma - additional storylines of the same personal order are given, but according to the principle of contrast with the main plot: the dramatic end of Gemma's love story with Sanin becomes clearer from comparison with side episodes concerning the history of Sanin and Polozova.

The main plot line in the story is revealed in the usual dramatic plan for such works by Turgenev: first, a short exposition is given, depicting the environment in which the heroes should act, then the plot follows (the reader learns about the love of the hero and the heroine), then the action develops, sometimes meeting on the way obstacles, finally there comes a moment of the highest tension of action (explanation of the heroes), followed by a catastrophe, and after it an epilogue .

The main story unfolds as the memories of a 52-year-old nobleman and landowner Sanin about the events of 30 years ago that happened in his life when he was traveling in Germany. Once, while passing through Frankfurt, Sanin went into a pastry shop, where he helped the mistress's young daughter with her younger brother who had fainted. The family was imbued with sympathy for Sanin and, unexpectedly for himself, he spent several days with them. When he was out for a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rude and Sanin challenged him to a duel. The duel ended well for both participants. However, this incident greatly shook the girl's measured life. She refused to the groom, who could not protect her dignity. Sanin, on the other hand, suddenly realized that he fell in love with her. The love that gripped them led Sanin to the idea of getting married. Even Gemma's mother, who was horrified at first because of Gemma's break with her fiancé, gradually calmed down and began to make plans for their future life. To sell his estate and get money for a life together, Sanin went to Weissbaden to the rich wife of his boarding comrade Polozov, whom he met by chance in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, attracted Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna's strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes languidly in the bustle of the world. Only 30 years later, he accidentally finds a miraculously preserved dried flower that caused that duel and was presented to him by Gemma. He rushes to Frankfurt, where he finds out that Gemma two years after those events got married and lives happily in New York with her husband and five children. Her daughter in the photo looks like that young Italian girl, her mother, whom Sanin once offered her hand and heart.

As we can see, the number of characters in the story is relatively small, so we can list them (as they appear in the text)

Dmitry Pavlovich Sanin - Russian landowner

Gemma is the daughter of the owner of the pastry shop

Emil is the son of the owner of the pastry shop

Pantaleone - the old servant

Louise is a maid

Leonora Roselli - the owner of the pastry shop

Karl Kluber - Gemma's fiancé

Baron Döngoff - German officer, later general

von Richter - second to Baron Döngoff

Ippolit Sidorovich Polozov - Sanin's friend in the boarding house

Marya Nikolaevna Polozova - Polozov's wife

Naturally, the heroes can be divided into major and minor. Images of both will be considered by us in the second chapter of our work.

CHAPTER 2. IMAGES OF MAIN AND SECONDARY

CHARACTERS IN THE STORY

2.1 Sanin is the main character of "Spring Water"

First, we note once again that the conflict in the story, and the selection of characteristic episodes, and the ratio of characters - everything is subject to one main task of Turgenev: an analysis of the psychology of the noble intelligentsia in the field of personal, intimate life ... The reader sees how the main characters get to know each other, love each other, and then the main characters disperse, how other characters take part in their love story.

In the first part of the story, Turgenev shows the best that was in Sanin's character and that captivated Gemma in him. In two episodes (Sanin helps Gemma's brother, Emil, who has fallen into a deep swoon, and then, defending Gemma's honor, fights a duel with the German officer Döngoff), Sanin's traits such as nobility, straightforwardness, and courage are revealed. The author describes the appearance of the protagonist: “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, gentle bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that innocently cheerful, trusting, frank, at first somewhat silly expression, by which in the old days it was immediately possible to recognize children of staid noble families, "fatherly" sons, good barichi, born and fattened in our free semi-steppe lands; gait with a stammer, a voice with a whisper, a smile like a child's, as soon as you look at him ... finally, freshness, health - and softness, softness, softness - that's all Sanin is for you. And secondly, he was not stupid and had picked up something. He remained fresh, despite the trip abroad: the disturbing feelings that seized the best part of the young people of that time were little known to him. " .

Special attention should be paid to the peculiar artistic means that Turgenev uses to convey intimate emotional experiences. Usually this is not a characteristic of the author, not statements of the heroes about themselves - for the most part, these are external manifestations of their thoughts and feelings: facial expression, voice, posture, movements, manner of singing, performance of favorite pieces of music, reading of favorite poems. For example, the scene before Sanin's duel with the officer: “Once a thought struck him: he stumbled upon a young linden tree, broken, in all likelihood, by yesterday's squall. She was positively dying ... all the leaves on her were dying. "What is it? omen?" - flashed through his head; but he immediately began to whistle, jumped over that very linden, walked along the path " ... Here the state of mind of the hero is conveyed through the landscape.

Naturally, the hero of the story is not unique among other Turgenev characters of this type. One can compare “Spring Waters”, for example, with the novel “Smoke”, where researchers note the closeness of plot lines and images: Irina - Litvinov - Tatiana and Polozova - Sanin - Gemma. Indeed, in the story, Turgenev seemed to have changed the novel's ending: Sanin could not find the strength to abandon the role of a slave, as was the case with Litvinov, and followed Maria Nikolaevna everywhere. This change in the finale was not accidental and arbitrary, but was precisely determined by the logic of the genre. Also, the genre actualized the prevailing dominants in the development of the characters of the heroes. Sanin, in fact, like Litvinov, is given the opportunity to "build" himself: and he, outwardly weak-willed and spineless, wondering at himself, suddenly begins to act, sacrifices himself for the sake of another - when he meets Gemma. But the story does not satisfy this quixotic trait, in the novel it dominates, as in the case of Litvinov. In the "characterless" Litvinov, it is precisely the character and inner strength that is actualized, which is realized, among other things, in the idea of social service. And Sanin turns out to be full of doubts and contempt for himself, he, like Hamlet, "a sensual and voluptuous person." - it is Hamlet's passion that wins in him. He is also crushed by the general course of life, unable to resist it. Sanin's life revelation is consonant with the reflections of the heroes of many of the writer's stories. Its essence lies in the fact that the happiness of love is just as tragically instantaneous as human life, but it is the only meaning and content of this life. Thus, the heroes of the novel and the story, initially revealing the same properties of character, in different genres realize different dominant principles - either quixotic or Hamlet. The ambivalence of qualities is complemented by the dominance of one of them.

Sanin can also be correlated with Aeneas (with whom he is compared) - the main character of the work "Aeneid", which tells about the journey and the return of the wanderer to his homeland. Turgenev has persistent and repeated references to the text of the Aeneid (the thunderstorm and the cave in which Dido and Aeneas took refuge), that is, to the “Roman” plot. "Aeneas?" - Marya Nikolaevna whispers at the entrance to the guardhouse (that is, the cave). A long forest path leads to it: “the shadow of the forest covered them broadly and softly, and from all sides the path suddenly turned to the side and went into a rather narrow gorge. The smell of heather, pine resin, dank, last year's foliage lurked in it - thick and drowsy. Freshness gushed from the crevices of large brown stones. On both sides of the path there were round hillocks overgrown with green moss A dull tremor rolled through the tops of the trees, through the forest air, this path went all the way into the depths of the forest. guardhouse, with a low door in a wicker wall ... ".

2.2 Female characters in the story

There are two main female characters in the story, these are two women who took a direct part in the fate of Sanin: his bride Gemma and the "fatal" beauty Marya Nikolaevna Polozova.

We first learn about Gemma in one of the first scenes of the story, when she asks Sanin to help her brother: “A girl of about nineteen rushed in impetuously into the pastry shop, with dark curls scattered over her bare shoulders, with outstretched arms outstretched, and, seeing Sanin, she immediately rushed to him, grabbed his hand and drew him along, saying in a breathless voice: "Hurry, hurry, here, save!" Not out of unwillingness to obey, but simply out of an excess of amazement, Sanin did not immediately follow the girl - and, as it were, rested on the spot: he had never seen such a beauty in his life. " ... And further, the impression that the girl made on the protagonist only intensifies: “Sanin himself was terrified, and he himself glanced at her sideways. My God! what a beauty it was! Her nose was somewhat large, but a beautiful, aquiline fret, the upper lip was slightly set off by down; but the complexion, even and matte, neither give nor take ivory or milky amber, wavy hair, like Allorieva Judith in the Palazzo Pitti - and especially the eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes - even now, when fear and grief darkened their brilliance ... Sanin involuntarily recalled the wonderful land from which he was returning ... Yes, he had never seen anything like it in Italy! "

Turgenev's heroine is Italian, and the Italian flavor par excellence at all levels, from linguistic to descriptions of Italian temperament, emotionality, etc., all the details that make up the canonical image of the Italian are given in the story with almost excessive detail. It is this Italian world, with its temperamental responsiveness, light flammability, quickly replacing each other with sorrows and joys, despair not only from injustice, but from the ignorance of form, that emphasizes the cruelty and baseness of Sanin's deed. But it is against Sanina's “Italian raptures” that Marya Nikolaevna opposes and, perhaps, in this she is not completely unfair.

But Turgenev also has Italian , in this case, corresponding to all possible virtues, in a certain sense, is also inferior to another (Russian) image. As often happens, the negative character “outplayes” the positive one, and Gemma seems somewhat insipid and boring (despite her artistic talent) in comparison with the bright charm and significance of Marya Nikolaevna, “a very wonderful person” who captivates not only Sanin, but also the author himself ...

Even the surname Polozova itself speaks of the nature of this woman: the snake is a huge snake, hence the association with the biblical snake-tempter, therefore Polozova is a temptress.

Turgenev almost caricatures the rapacity and depravity of Marya Nikolaevna: “triumph snaked on her lips - and her eyes, wide and bright to whiteness, expressed the one merciless stupidity and satiety of victory. A hawk that claws a caught bird has such eyes. " ... However, such passages give way to a much more pronounced admiration, first of all, in front of her feminine irresistibility: “And it’s not that she was an out-and-out beauty, she couldn’t boast of the delicacy of her skin or the grace of her arms and legs — but what did all this mean? Not in front of the “shrine to beauty,” in the words of Pushkin, anyone who would have met her would have stopped, but before the charm of a powerful, either Russian or gypsy, blooming female body ... and he would not have stopped involuntarily! "This woman, when she comes to you, as if she brings all the happiness of your life towards you" " etc. Charm of Marya Nikolaevna dynamically : she is constantly on the move, constantly changing "images". Against this background, the static Gemma's perfect beauty, her statuary and picturesqueness in the "museum" sense of the word: she is sometimes compared with the marble Olympic goddesses, then with Allorieva Judith in the Palazzo Pitti, then with Raphael Fornarina (but it should be remembered that this does not contradict the manifestations of Italian temperament, emotionality, artistry). Annensky spoke about strange resemblance pure, focused and aloneTurgenev girls (Gemma, however, is not among them) with statues, about their ability to turn into a statue, about their somewhat heavy statuary .

Curious as an illustration, the theatrical theme in the characterization of both heroines. In the evenings in the Roselli family, a performance was played out: Gemma excellently, "quite like an actor" read the "comedy" of the average Frankfurt writer Maltz, "made the most hilarious grimaces, curled her eyes, wrinkled her nose, burst, squeaked"; Sanin “could not be quite amused at her; he was particularly struck by how her perfectly beautiful face suddenly assumed such a comic, sometimes almost trivial expression. " ... Obviously, Sanin and Marya Nikolaevna are watching a play of about the same level in the Wiesbaden theater - but with what murderous sarcasm Marya Nikolaevna speaks of her: “Drama! She said indignantly, "a German drama." It's all the same: better than a German comedy. " It was one of the many homegrown works in which well-read but talentless actors presented the so-called tragic conflict and boredom. The antics and whimpering arose again on the stage " ... Sanin perceives the play with her sober and merciless eyes and does not experience any enthusiasm.

The opposition of scales at a deep level is also felt in what is reported about both in the conclusion of the story. "She died a long time ago," says Sanin about Marya Nikolaevna, turning away and frowning , and a kind of drama is felt latently (especially if we remember that the gypsy predicted her violent death). All the more this drama is felt against the background of Gemma, grateful to Sanin for the fact that meeting with him saved her from an unwanted groom and allowed her to find her destiny in America, married to a successful merchant, “with whom she has been living for the twenty-eighth year quite happily, in contentment and abundance " ... Getting rid of all sentimental, emotional and romantic trappings italian (embodied in Frau Lenore, Pantaleone, Emilio and even the Poodle Tartaglia), Gemma embodied the model of philistine happiness in an American manner, which, in fact, does not differ from the once rejected German version (like the surname Slokom, replacing Roselli , no better Kluber ). And Sanin's reaction to these news, which made him happy, is described in a manner for which one can assume the author's irony: “We will not undertake to describe the feelings that Sanin experienced while reading this letter. There is no satisfactory expression for such feelings: they are deeper and stronger - and more indefinite than any word. Music alone could convey them " .

2.3 Minor characters

writer turgenev story character

The main characters of Vashnye Vody are compared with minor characters, partly in similarity (Gemma - Emil is their mother), and even more in contrast: Sanin - and a practical, moderate, neat bourgeois, Gemma Kluber's fiancé, Sanin - and a perky, empty burner life of Dyungoff. This allows you to deeper reveal the character of the protagonist through his relationship with these people.

The reader's deep sympathy is aroused by Gema's brother Emilio, who later died in the ranks of Garibaldi's fighters. Here is how the author describes it: “In the room where he ran after the girl, on an old-fashioned horsehair sofa lay, all white - white with yellowish tints, like wax or like ancient marble, - a boy of about fourteen, strikingly similar to a girl, obviously her brother. His eyes were closed, the shadow of his thick black hair fell like a spot on his forehead, as if petrified, on his motionless thin eyebrows; gritted teeth could be seen from under blue lips. He didn't seem to be breathing; one hand dropped to the floor, the other he threw over his head. The boy was dressed and buttoned; a tight tie squeezed his neck " .

In a tone of good-natured irony, Turgenev draws in "Spring Waters" of the elderly retired singer Panteleone: “... a little old man in a lilac dress coat with black buttons, a high white tie, nanke short trousers and blue woolen stockings entered the room, hobbling on crooked legs. His tiny face completely disappeared under a whole bulk of gray, iron-colored hair. From all sides, rising abruptly upward and falling back in disheveled braids, they gave the old man's figure a resemblance to a crested chicken - the resemblance is all the more striking because under their dark gray mass it was only possible to make out that a pointed nose and round yellow eyes " ... Then we get to know the circumstances of the old man's life: “Pantaleone was also introduced to Sanin. It turned out that he was once an opera singer, for baritone parts, but he had long ceased his theatrical studies and was in the Roselli family, something between a friend at home and a servant. "

On the one hand, this character is comic, designed to revive the Italian flavor of the story, to make it more vivid, naturalistic, on the other hand, it allows us to take a closer look at the Djema family, her relatives and friends.

Turgenev satirically depicts a "positive person" - Gemma's fiancé of the German Kluber: “It must be assumed that at that time in the whole of Frankfurt there was no other store in any store such a polite, decent, important, amiable chief commie, which was Mr. Kluber. The impeccability of his dress was at the same height with the dignity of his posture, with elegance - a little, however, prim and restrained, in the English way (he spent two years in England) - but all the same with the captivating elegance of his manners! At first glance, it became clear that this handsome, somewhat strict, well-bred and excellently washed young man was accustomed to obeying the higher and commanding the lower, and that behind the counter of his store he inevitably had to inspire respect for the customers themselves! There was not the slightest doubt about his supernatural honesty: one had only to look at his tightly starched collars! And his voice turned out to be what one would expect: thick and self-confidently juicy, but not too loud, with some even tenderness in timbre ”. Kluber is good to everyone, but a coward! And what, not only did he stain himself with shame, he also put his beloved girl in an awkward position. Naturally, the author's attitude towards him is not too warm, and therefore he is depicted ironically.

And this irony turns into sarcasm in hindsight when we learn that Kluber got caught and died in prison.

CONCLUSION

Turgenev positioned the story "Spring Waters" as a work of love. But the general tone to incur is pessimistic. Everything is accidental and transient in life: chance brought Sanin and Gemma together, chance broke their happiness. However, whatever the end of the first love, it, like the sun, illuminates the life of a person, and the memory of it remains forever with him, like a life-giving principle.

Love is a powerful feeling, before which a person is powerless, as well as before the elements of nature. Turgenev does not illuminate the entire psychological process for us, but dwells on separate, but crisis moments, when the feeling accumulating inside a person suddenly manifests itself outside - in a look, in an act, in a rush. He does this through landscape sketches, events, characteristics of other characters. That is why, with a small set of heroes in the story, each image created by the author is unusually bright, artistically complete, and fits perfectly into the general ideological and thematic concept of the story.

There are no random people, here everyone is in their place, each character carries a certain ideological load: the main characters express the author's idea, lead and develop the plot, "talk" with the reader, the secondary characters add additional flavor, serve as a means of characterizing the main characters, add comic and satirical shades of the work.

In general, we can conclude that Turgenev is a great master in depicting the characters of characters, in penetrating into their inner world, in expressing the subtlest psychological elements of the narrative. To create his unique images in the story, he used artistic means that allowed him to portray the heroes "alive", "close" to the reader, which in turn allowed him to convey his ideas to people, to enter into dialogue with them on an artistic, figurative level.

LITERATURE

Batuto A.I. Turgenev is a novelist. - L., 1972.

V.V. Golubkov The artistic skill of I.S. Turgenev. - M., 1955.

Zenkovsky V.V. The world outlook of I.S. Turgeneva / Zenkovsky V.V. // Russian thinkers and Europe. - M., 1997.

Kurlyandskaya G.B. The aesthetic world of I.S. Turgenev. - Eagle, 1994.

Kurlyandskaya G.B. I.S. Turgenev. Worldview, method, traditions. - Tula, 2001.

Petrov S.M. I.S. Turgenev. Life and creation. - M., 1968.

Struve P.B. Turgenev / V. Alexandrov's publication // Literary study. - M., 2000.

Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12. - M., 1986.

V.V. Golubkov The artistic skill of I.S. Turgenev. - M., 1955 .-- P. 110.

In the same place. - S. 98.

Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Compositions: in 12 volumes - T. 12 - M., 1986. - P. 99

In the same place. - P. 102

Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12 - M., 1986. - P. 114.

Also on the topic

Securities portfolio: assessment of profitability and risk Securities portfolio alm htm

Unsecured Loan Unsecured Loans Are Provided

Currency of England: Historical and Contemporary

Profits and Losses Report

Open interest on the exchange