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Topics that reveal the student's attitude to the hero of a literary work can be formulated in different ways: "Which of the heroes (work) is closer to me and why?", "My attitude to the hero (s) of the work", "My favorite literary hero", etc. .P.

Essays in which students directly express their attitude towards literary heroes, must be preceded by the experience of characterizing the literary character. We begin to write essays-characteristics from the 5th grade, mastering in the process of text analysis such theoretical and literary concepts as “portrait of a literary hero”, “speech of a hero”, “author's attitude to the hero” (author's position). Comparative characteristics of the heroes of one work are the next stage in the work on the literary image.

As the literary and age-related development of students increases, we increase the context of comparison (comparison of literary heroes of different works of art, eras, trends, heroes of Russian and world literature), complicating the goals and objectives of the work. Thus, the topic “My attitude to the heroes of IS Turgenev’s story“ Asya ”, proposed in grade 8, in the future, at the next stage of literary development, can be developed in a broader, philosophical context. For example, in the mainstream of Dmitry Likhachev's reflections on the originality of the Russian character: “One feature, noticed long ago, really constitutes the misfortune of Russians: in everything to go to extremes, to the limit of what is possible, and at the same time in the shortest possible time ... the line was always on the verge of extreme danger - this is beyond any doubt, and in Russia there was no happy present, but only the dream of the future replacing it. "

At the initial stage - the characteristics of the literary hero, the expression of their attitude towards him - such works, as a rule, do not cause great difficulties for students. Nevertheless, the most common mistake in their writing is the absence in the work of a direct characterization of the hero, which would motivate the expressed attitude towards him. Often, the student is in a hurry to express his opinion, skipping an important stage of the work - thinking about the image of the hero, attention to the author's position - which are possible only on the specific material of the analyzed literary text. In order to sharpen the attention of students to the disclosure of the images of heroes, we will somewhat change the traditional theme: instead of “My attitude to the heroes of the story of I. Turgenev“ Asya ”" - “Heroes of the story of I. Turgenev“ Asya ”and my attitude to them ".

Focusing on the characterization of the hero, reliance on the material that the text gives (portrait, speech, actions, the author's attitude to the hero), help the student to avoid unreasonable assessment, superficial judgments. In real life, this contributes to the development of such qualities in students as observation, the desire for objectivity in expressing their own opinions.

Since any creative work in literature is directly related to the analysis of the work, directly or indirectly motivated by its nature, goals and objectives, we recommend referring to the materials of the textbook for grade 8, ed. VG Marantzman, as well as methodological recommendations for the textbook, which will help the teacher to plan lessons for the work.

Experience shows that students read the story with interest: the topic human feelings and relationships are interesting for teenagers. The main difficulty is the understanding of the image of the main character of the story - Asya and the feeling of the lyrical leitmotif of the story - “happiness has no tomorrow”.

The naturalness and openness of nature, the strength and fearlessness of feelings, the ability to respond with the heart to everything that happens in life are far from always close to the consciousness of a modern person: it is enough rational, pragmatic. The understanding of the uniqueness of a meeting, a “moment” that fate gives a person only once and for which he is most often not ready, as the hero of Turgenev's story, is not close to a 13-14-year-old reader. And this is explained not only by his small life experience, but also by a different outlook of a person of the XXI century, who lives in the era of virtual reality: everything can be replicated, repeated, scrolled like in a movie, duplicated. Uniqueness, uniqueness, originality as characteristics of certain life situations, feelings, relationships are today denied as such. Popular culture puts forward an alternative thesis: everything is repeatable, reproducible, replaceable. Attempts of self-expression most often ultimately lead to unification - since initially they are based on a veiled desire to “be like everyone else”.

On the one hand, the essay "The heroes of I. S. Turgenev's story" Asya "and my attitude towards them" is a teaching work, the purpose of which is to teach students to express their attitude towards literary heroes, actively involving a literary text to argue their thoughts and feelings (reliance on the characterization of the image), on the other hand, it gives students the opportunity to better understand the characters of the heroes and the author's position in the work, once again think about the actions of the heroes and their attitude towards them.

Below we present the work of students, accompanied by a brief analysis and recommendations for further work. We have selected compositions that differ in the level of mastering the material, style of thinking. They will help you see how the writing process is progressing for different students. All of them are given without stylistic corrections, although almost every one contains speech errors, shortcomings, which, in our deep conviction, reflect the inaccuracy, first of all, of the thought itself.

Heroes of the story "Asya" by I. S. Turgenev and my attitude to them

1. A draft of the composition of Olga Pantyukhova.

Turgenev's story "Asya" has three main characters: Asya, Gagin and N.N.

Gagin is a nobleman, an educated person. He played the piano, composed music, painted pictures - in general, he led a secular lifestyle.

He considered his paternal sister Asya "kind, but with a bad head." “It's hard to get along with her,” he said. “You have to get to know her well in order to judge her!”

Asya was short, "gracefully built, but as if not yet fully developed." Her hair was black, "cropped and combed like a boy's," her face was dark, round, "with a small thin nose, almost childish cheeks and black eyes."

She was very mobile, “did not sit still for a single moment; she got up, ran and ran again, sang in an undertone, often laughed, and in a strange way: it seemed that she was laughing not at what she heard, but at various thoughts that came into her head. Her large eyes looked straight, bright, bold, but sometimes her eyelids slightly squinted, and then her gaze suddenly became deep and tender. "

NN was a freethinking person who did not bother himself with anything, an ordinary nobleman who left to travel "without any goal, without a plan"; "He lived without looking back, did what he wanted, prospered, in a word." He was interested in his travels more than all faces, "living, human faces - the speech of people, their movements, laughter - that's what I could not do without," he said. NN loved to be in the crowd, to communicate with people. He often passed off all his fleeting hobbies as serious feelings, therefore, perhaps, he was not able to properly address Asya, to understand her when she wanted to confess her feelings to him. He behaved tactlessly, accusing Asya of something that she did not think about, and even more so could not do: “You did not allow the development of a feeling that was beginning to ripen, you broke our connection yourself, you did not have confidence in me, you doubted in my..."

Thus, when I read the story, I still thought about the question: why did not fate unite the heroes, why did it all end that way? So unexpected and sad? After all, there were no obstacles for the heroes, they could influence their own destiny.

Only an act done or not done on time plays a role here. N.N. was to blame for the fact that everything turned out that way. He had a chance both at the moment when they met with Asya and at the moment when he decided that "tomorrow he will be happy." But “happiness has no tomorrow; he doesn't have yesterday's either; it does not remember the past, does not think about the future; he has a present - and that is not a day - but a moment. " And N. N. missed his happiness. His frivolity ruined his fate. And he himself, having already lived his life, realized this, “condemned to the loneliness of a familyless boar”, “... what happened to me? What is left of me, from those blissful and anxious days, from those winged hopes and aspirations? "

Turgenev's story “Asya” is a story about unfulfilled love, irrevocably gone hope for happiness.

This work is the result of the student's attentive attitude to the text of the work, active participation in the analysis.

We see that the character of each of the heroes of the story as a whole is recreated correctly. The portrait of Gagin is not fully drawn in the work. Although he plays in the story not so significant in comparison with other characters in the story, his image is ambiguous. When characterizing Gagin, it is important, on the one hand, to note the irony with which the author speaks of his painting studies (and in this superficial relation to art, Gagin and N.N. are close), on the other hand, to emphasize Gagin's sincere attitude to the fate of Asya, the ability to understand her dissimilarity to others, to accept her for who she is - which N.N.

Asya's portrait is drawn in sufficient detail, but lacks appreciation. It remains not entirely clear how the author of the work relates to Asya, what associations the image created by the artist evokes. It is also necessary to think about how to better introduce her portrait into the composition. Some significant episodes of the narrative are overlooked in the analysis: "why people don't fly", a waltz scene. An appeal to these episodes would help to “hear” the melody of love in the story, to join the style of the author's narration.

The advantage of the work is, undoubtedly, the reliance on the text of the work of art, the skillful introduction of quotations. But the “size” of each quotation must be reduced to the minimum that reflects the essence of the thought.

The introduction leads directly to the topic of the essay, but stereotypically, devoid of a setting for dialogue. The final part of the work successfully reflects the general meaning of the story, but does not reveal the student's reading position. There are speech shortcomings.

2. A draft of the composition of Lukyanov Victor.

All of you, probably, have heard about the work of I. S. Turgenev "Asya" or read this story. This work is known to very many due to the fact that what is written in it is very bordering on reality. This is not some simple novel. This is a life where actions are so natural that sometimes it seems as if the writer did not invent a story, but only transferred what was in life to paper.

N.N. is an ordinary young nobleman who is looking for something new without having a definite goal in life.

Asya is a young girl who is interested in everything. She is honest and in many situations does not know how to behave.

NN fell in love with Asya, and she fell in love with him, it seemed that everything should go well, but this work is too similar to life for it to have such a happy ending. After all, a person's life cannot be ideal.

He is a nobleman, but she is not, what will happen after the wedding? He will lose everything, and this fear prevailed over love, and they parted.

Despite the fact that the heroes parted, N.N. continues to love Asya with his heart. And in the end, love conquers fear, but it was already too late. And there is nothing left but sadness. And she wins and warms his heart.

The characterization of the heroes is given too general, although their main features are correctly captured. The logic of thinking is interesting, according to which "Asya is honest", therefore in many situations she does not know how to behave. At first glance, it is illogical. But, if you think about it, a "natural" person does not have "preforms" of behavior for different life situations. It would be interesting to develop thought in this direction.

It is necessary to supplement the characterization of the heroes: to emphasize the uniqueness of Asya, to highlight the attitude towards NN's life at the beginning of the story, to say a few words about Gagin; compare heroes. Introduce small quotes that accurately and figuratively characterize each of the characters. Is it possible to prove in the text that N.N. prevented her from marrying Asya by her non-nobility origin (this is stated in the work). The work does not clearly express their own attitude towards the heroes of the story.

In the introduction, the dialogical character of the narrative is outlined, but in the future it is not developed. In general, what was written is a sketch, sketches for future work. Lack of support on the text makes thinking, impoverishes thought.

It is necessary to develop independent thoughts, actively involving the text of the work and the results of analysis for this.

3. A draft of the composition of Svetlana Golubeva.

The main heroine of the story is Asya: short in stature, gracefully built, short black curls, black eyes. Although her name was "Anna", for some reason everyone called her affectionately "Asya". She was seventeen years old. Dexterous, agile, even seemed a little impudent, and her whole being "strove for the truth." She believed that "flattery and cowardice are the worst vices."

In this story, a gullible, sweet, unlike the other girl, attracts the attention of a young man - I. N. She gives rise to conflicting feelings in his heart. The hero of the story himself cannot fully understand his feelings for Asya, because he never had a serious relationship with girls of her age. I think that before meeting with Asya NN was even cynical about girls. He soon began to forget his wrong feelings. And yet it seems to me that N.N. is a frivolous, windy person, incapable of real feelings. He was too amorous, careless, because all his life he did not bother himself with anything. As he himself tells about himself, "he lived without looking back", "did what he wanted." It did not even occur to him that it was impossible to live like that. Much later, the hero will understand that "youth eats gilded gingerbread, and even thinks that this is their daily bread, and the time will come - and you will ask for bread."

Gagin is an unusual person. There is something “soft” in all his appearance: soft curly hair, “soft” eyes. He loves nature, art, although he clearly did not have enough patience and hard work for serious painting. But at the same time, he loves Asya strongly and sincerely like a brother, worries about her fate.

Having listened to Asya's confession, N.N. does not evaluate her deed, and even pretends that he is indifferent to her. Asya is at a loss, in despair, she loses faith in everything that was so important to her. She had to endure and endure a lot. She was so afraid of this disappointment, but it overtook her. Asya is naive, she does not yet know how difficult and cruel life is. The heroine evokes in me pity, sympathy and understanding. At the end of the story, NN confesses that in fact he never experienced such feelings for anyone as for Asya: “The feeling was burning, tender and deep only then. No! No eyes looked at me with such love! "

N. N. loses Asya. She remained in his memory the very girl he knew her at the best time of his life and as he saw her for the last time. He realized too late what mistake he had made. Tomorrow I'll be happy, he thought. But “happiness has no tomorrow” ...

In the work one can feel the student's "capture" by the feelings of the heroine. It is no coincidence that she writes that she understands the heroine.

Here we clearly see the "involvement" of a work of art with the psychological dominant of age - the experience of first falling in love. Accurately understood internal state the heroine at the moment of her meeting with NN: Asya “loses faith in everything that was so important to her”.

The characters of the heroes are described quite fully. The transition to Gagin's characterization was not entirely successful. There is no comparison with N. N. and conclusions. Lucky selection of quotes. Unfortunately, some important episodes of the story are not mentioned in the work, so the author was not quite able to recreate the poetic atmosphere of the narrative, to convey the “music” of the text, which undoubtedly impoverishes the analysis of the story. Apparently, this layer of the work was somewhat ignored by the student. The focus is on the plot.

4. Draft of Stanislav Anikin's composition.

At the literature lesson, we read the story "Asya" by I. S. Turgenev. I am very sorry that Asya and N.N. did not stay together. If NN did not live "tomorrow", they would be happy.

Asya had an extraordinary appearance. Almost childish cheeks, black eyes, small nose. She was gracefully built and resembled Raphael's Galatea. Her inner anxiety, a desire to show off, confused N.N. She laughed, then sad: "What a chameleon this girl is!" But he liked her soul.

Gagin, Asya's brother, loved to draw, but all the paintings remained unfinished. With his love for nature and art, he lacked hard work and patience. It is no accident that, describing one of Gagin's and NN's walks, when Gagin decided to “work,” Turgenev notes that the heroes started talking with such pleasure, as if they were doing something useful. But, despite the ironic attitude of the author to the "artist", we see that Gagin was capable of sincere love for his sister, worried about her fate.

During the meeting, Asya was like a "frightened bird". She was trembling, and at first NN felt sorry for her, his heart "melted" in him. Then, remembering Gagin, N.N. began to shout at Asya and gradually became more and more cruel. Asya did not understand the reasons for his cruelty. I. I. knew that he was deceiving her. Asya rushed to the door and ran away, and he stood "as if struck by thunder."

N.I. loved Asya. If he only said one word, they would be together. Fear tormented him, annoyance gnawed. He felt regret, remorse. How can you marry a seventeen year old girl! And at the same time, he was almost ready to tell Gagin about this and decided to postpone it until tomorrow. "Tomorrow I'll be happy!" But “happiness has no tomorrow” ... The critic N. G. Chernyshevsky wrote that all Russian “Romeos” are like that.

On the whole, the student correctly grasped the meaning of Turgenev's story. The work contains episodes from the text, quotations, the point of view of Chernyshevsky. But the student finds it difficult to logically connect micro themes, the transition from the reproduction of the text to independent reflection. Own attitude towards heroes is clearly not expressed enough, there is no involvement in the world of a work of art, in the world of the author and heroes. That is why the work pays so little attention to the experiences of the heroes, their feelings.

With all the drawbacks, the work is completely independent.

It is necessary to once again refer to the materials for the essay, think about the proposed questions.

5. A draft of the composition of Karpuzova Ulyana.

The heroes of Turgenev's story "Asya" aroused conflicting feelings in me. It's a little difficult for me to understand how I feel about them. I will try to reflect on this.

At first it was not clear to me why Asya changed so much throughout the story. In the beginning, the author describes her as follows: "Her big eyes looked straight, bright, bold", "her gaze became deep and gentle", "her movements were very sweet." “There was something restless in all her movements,” by nature she was “shy and timid”. She was gracefully built and resembled Raphael's Galatea.

Even N. N. notices something strange in her, or rather, extraordinary. The reader gets the feeling that each chapter describes a different girl. Now she is a peasant girl, now a funny child, now a socialite, now a woman who loves with all her heart. Asya is different, but always sincere. The heroine changes roles, remaining herself. Sincerity always shone in her big black eyes.

I noticed that Asya is very different from Gagin and N. N. There is something restless in her. Maybe this is a hot-tempered, impudent, constantly changing character, or maybe blood, in which there is both the simplicity and tenderness of a Russian woman, and the obstinacy and spoiledness of a society lady. Feeling any feelings, be it love or hate, she experiences them to the end, deeply, with all her soul. I think that this is what distinguishes the "Turgenev" girl from all the others. Asya is very close to me in spirit, I understand her every movement, look, words. It seems to me that we even look alike.

I see a friend in Gagin. A simple, interesting young man, a funny artist and a caring brother.

I have a completely different attitude to N.N. He seems to me bold, sensual, but not capable of decisive action. He is curious, loves to travel, meet different people. But his trouble is that he is afraid of his feelings.

Gagin and N.N. are similar. They are always interested in being together. They find common topics for conversation. NN describes one of such conversations as follows: “Having been full and filled with a sense of satisfaction, as if we had done something ...” He, as it were, ironically emphasizes the invariable feature of the Russian soul - the love of conversation.

We wonder why Asya and N.N. do not stay together. It seems that there are no obstacles to their relationship. Asya on a date trembled "like a frightened bird", she could hardly hold back the "tears boiling over." She was all so touching and helpless at that moment.

She sincerely loved N.N. and was ready for anything for love. And NN felt sorry for her, his "heart melted", he "forgot everything." But at some point he feels bitterness and begins to reproach her, knowing that he is deceiving both her and himself. “I am a deceiver,” he says later, when he admits his mistake.

“Tomorrow I will be happy” ... These words become fatal for N. N. If then he did not trust his reason, but hoped in his heart, everything would have ended differently. It's strange how just one act can rob us of our happiness forever.

It seems to me that the bitter fate of the heroes of the story teaches us to believe our feelings and always trust our heart.

A distinctive feature of the work is the author's lively "participation" in the fate of the heroes and a mature, independent attitude to their actions. Sympathy for the heroine of the story, discovery, recognition of oneself in her stimulates the student's creative imagination, which is especially noticeable in the analysis of the portrait of the heroine. The student managed to understand the motives of NN's actions, to "separate" feelings and reason in his characterization.

Unfortunately, important "poetic episodes" have been missed - the waltz scene, the dialogue between Asya and NN "why people don't fly ...", the general musical tonality of the narrative has been ignored.

6. A draft of the composition of Zakharova Daria.

In the story of IS Turgenev "Asya" we are talking about the fates of the three main characters: Asya, NN and Gagin. While reading two other stories by Turgenev "First Love" and "Spring Waters", I came to the conclusion that the writer conducts his main characters through the test of love. What a person is in love - that is how he is.

In the story "Asya", the heroine Asya evokes the greatest sympathy for me, because she is closer to me in spirit. She is not like everyone else. She gives me conflicting feelings. On the one hand, this is understanding and sympathy, but on the other, indignation and even indignation for her impudent, unpredictable behavior. Asya's portrait changes throughout the story. She kind of tries on different roles for herself. In the beginning she “did not sit still for a single moment; I got up, ran into the house and ran again. " Then she decided to play a new role - "the role of a decent and well-bred young lady", then Asya chooses the role of "a capricious girl with a strained laugh." But most of all I was surprised by the image of a "simple girl", almost a "maid". At the end of the story, I see a completely different Asya - a woman who loves with all her heart, ready for anything for her love. Despite all the unpredictability of Asya's behavior, I consider her a kind, sincere girl.

I have a different attitude to N.N. He was an independent person, he loved to travel without any goal, without a plan. At first he lives as if in an idyll: he is slightly in love, he is also interested in new faces. After meeting Asya and Gagin, he begins to anticipate happiness. NN gazes at Asya, at her graceful movements, at “the most changeable face” that he has ever seen and for some reason begins to feel annoyed. He is annoyed by the fact that he involuntarily constantly thinks about Asa. He does not think about the fact that happiness is near, but he is not ready for love.

It seems to me that N. N. and Gagin are similar. They were interested in together, they had common topics for conversation, because they were from the same noble circle, both were young and did not differ in particular hard work. In Gagin, I see a caring brother who does anything to keep Asya's heart from being broken.

In order to understand the feelings of the main characters, you need to analyze the dating scene. Asya “trembles like a frightened bird” on a date, and IN experiences bitterness. After an unsuccessful meeting, having abandoned Asya, NN suddenly realized that he loved her, began to lavish vows and confessions into the blackness of the night, and now he was annoyed with himself. “One word ... Oh, I'm a madman! This word ... I repeated it with tears ... among the empty fields ... but I did not tell her that I love her ... Yes, I could not say that word then. When I met her in that fateful room. There was no clear consciousness of my love in me; it did not wake up even when I was sitting with her brother in senseless and painful silence ... It flashed with irresistible force only a few moments later, when, frightened by the possibility of unhappiness, I began to look for and call her ... but then it was too late ".

Happiness postponed until tomorrow turns out to be impossible. "Tomorrow I'll be happy!" But “happiness has no tomorrow; he doesn't have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

It is gratifying that the author of the work read and mentioned Turgenev's other stories about love, which testifies to the interest in the writer's work. The student writes that the heroine of the story is “close in spirit” to her, but, unfortunately, she does not fully reveal this kinship of souls, just as the whole appearance of Asya is not completely outlined in the composition. It is not a lack of understanding of the heroine that is felt here, but simply “lack of clarity”: the intuitive and emotional attitude towards the heroine is not fully clarified in her thoughts, not entirely realized. On the whole, NN's attitude to Asya is clearly indicated: the hero “refuses” happiness. To a small extent, the content of the work was influenced by the article of the textbook, but on the whole the work is independent. It is interesting to note that the choice of all the guys who used the material in the textbook fell on the phrase about the "idyll" in which the hero stays before meeting Asya, and on the idea that the hero does not notice that he is "on the threshold of love."

Apparently, this choice can be explained not so much by the desire to confirm one's own thoughts with someone else's successful comparison, as by the desire to express one's thought beautifully, as in a book. The very style of student essays does not give us grounds to talk about the lack of independence of work.

Out of sight remained, as in many other works, the theme of music and "flight" in the story.

7. A draft of the composition of Ryzhkov Vadim.

It is difficult to find a person who has not read or, in extreme cases, has not heard about "Asa" Turgenev. She, for example, " Poor Lisa"Karamzin, has turned over time into a symbol. As soon as the title of the story is pronounced, everyone immediately understands that we are talking about a sad love story. The beautiful turns out to be impossible. It becomes sad and light because love has passed very close, touched and left. Such experiences are called "romantic".

First, you still need to read the story "Asya" very carefully. Secondly, to reflect on it, forgetting about the initial attitude. Before I read the story, it seemed to me that Asya was just another fairy tale about oaths and tears.

It turns out that Turgenev is realistic here to such an extent that you get scared and believe every word. The main character NN looks like a non-fictional character, so the author, I think, partially describes himself, his friends, and his contemporaries in general. Yes, I. I. is a thinking, reasonable person of the XIX-XX-XXI centuries. The hero is 25 years old, he traveled around the world, has a position in society, was once carried away by a young widow. But when he met Asya, a young seventeen-year-old girl, he really fell in love for the first time.

Sympathy arises between them. Asya expresses it sincerely, openly. She "doesn't know how to pretend." And N. N., on the contrary, hides his love. He tries to be noble. He indulges Asya, not understanding himself. Until the last page of the story, the hero cannot decide on the proposal. N. N. lies to himself and does not doubt the correctness of what he is doing.

NN's problem is not in the different social position between him and his beloved. It seems that happiness is so close. It is possible. IN says “I love her,” but he is afraid of his feelings. It seems to me that the heroes are so different! They would have to show limitless patience to live together. NI is afraid of Asya's love and explosive temperament.

In the last lines of the story, the hero feels a slight regret and nostalgia for a failed love. It seems to me that Asya deserves more pity than NN. Of course, NI is also worthy of sympathy, because what is it like "to stop in front of the door, behind which there is happiness, and not open it because of your own fears and emotions."

The work stands out sharply for its "literary" quality. The student seeks, as it were, to distance himself from the narrative, choosing the role literary critic... It is interesting that in the story the student most of all likes the “realism” of the images and narration. The individual manner of thinking reveals the work of the real reader in the author. With all the roughness of some phrases, the thoughts expressed are interesting and independent.

Unfortunately, important episodes of the text have not been analyzed, the characters of the heroes have been outlined in less detail than the topic requires.

But the general background of thinking is wide enough, self-sufficient, interesting.

8. A draft of the composition of Nikolai Yakushev.

Turgenev's story "Asya" was read easily and quickly by many in the class. I liked her too.

The protagonist of this story, N.N., did whatever he wanted. It did not even occur to him that "a man is not a plant and he cannot flourish for a long time." Nature had an extraordinary effect on him. He traveled without any goal, without a plan, stopped wherever he liked. He felt a longing desire to see new faces. That's how he met Asya.

But Asya was very unusual. Even in N.N. it evoked a contradictory feeling. He spoke of her like this: "What a chameleon this girl is," "the most changeable face I've ever seen." Asya was gracefully built. She had big black eyes, a small thin nose, baby cheeks. And there was in her whole being some kind of insolence.

“She wanted ... to make the whole world forget her origins; she was ashamed of her mother and ashamed of her shame ”- this is how Gagin told about Asya. "A life started wrongly" was formed "wrong", but "the heart in it did not deteriorate, the mind survived."

Gagin is a sweet young man. He loved Asya like a brother. When NN went on a date to Asya, all his thoughts got confused in his head. Different feelings fought in him for a long time. “I cannot marry her,” N.N. decided.

On a date, he saw Asya, who was trembling like a frightened bird. He felt sorry for her, but when he remembered Gagin, he behaved differently. NN walked and talked "as if in a fever", reproached Asya for something.

Then this bitterness was replaced by annoyance at myself: "How can I lose her?" “Madman! A madman, ”he repeated to himself. N. N. decides that "tomorrow he will be happy." But “happiness has no tomorrow; he doesn't have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

The next day Asya left, and N.N. realized that he would never see her again. If that same night he would have said just one word to her! .. "One word ... I did not tell her that I love her."

NN felt such a feeling only for Asya, and such a feeling never happened again in his life.

The student knows the text of the work well. The student contrasts NN's "usualness" and Asya's "unusualness", but does not further develop this idea.

In the essay, the student's empathy is felt for what he writes about, the author's sympathy for the heroes of the story. Unfortunately, the key episodes of the story and the author's position were ignored.

Apparently, the student did not have enough zeal for a more detailed analysis of the characters and actions of the heroes. Quotes are probably used from memory, which indicates good knowledge of the text and the ability to grasp the main thing. The conclusion also requires revision, since it is not directly related to the purpose of the work.

9. A draft of the composition of Alexander Drozdov.

Here I read the last page of Turgenev's story "Asya", and I begin to go over everything in my head, remember how I treated the heroes of the story at the beginning of the work, and how at the end, and immediately I have a strange feeling and a question: "Why is it all are the heroes unhappy? " Now I will try to reflect on this.

Asya - main character works - looked very unusual. She was gracefully built, she had large black eyes, short curls framed her face. “I have not seen a more mobile creature,” NN said when he saw Asya. Her life was very tragic: she is the daughter of a peasant serf and landowner. After the death of her father, Asya was left on her own and began to think about her position early. And for the first time, she faced such a feeling as love. It inspires her, gives her new strength, but remains unrequited. The man who fell in love with her, Mr. N.I., was weak-willed and indecisive, he was afraid to show her his feelings, although he often thought about her. He liked her, but her determination repulsed him. On a date with Asya, NN begins to blame her for everything. He spoke as if "in a fever": "It's all your fault." And then he admitted to himself that he was deceiving himself and Asya.

Her brother Gagin, a young handsome man, took care of Asya and loved her like no other, but he did not the main character in the story, although he tried to help Asya and N.N. find happiness.

"Tomorrow I'll be happy!" - so spoke N. N., but he did not yet know that “happiness has no tomorrow; he doesn't have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

If only everything were so simple! .. Life is only one, and you have to live it so as not to regret something later. Each person has his own happiness, but it is not always taken seriously. If you have found your happiness, then you need to take care of it and never let go, then everything will be fine. We ourselves build our life and our happiness.

The author of the work is a rarely written student. The word is given to him with difficulty. Interest in the story, the reflections of classmates in the lesson prompted him to take up the pen himself. Note that the student accurately conveys the psychological states of the heroes ("feeling inspires her," NN "deceived himself and Asya", etc.).

The author of the work transfers his experience in a literary text to real life... At first glance, this "naive realism" is repulsive, but, on the other hand, this frankness reveals the inner world of the student, who practically does not speak in the lesson and reads very little, but here, although straightforwardly, he tries to project his changed mind (see the beginning work - "I'm sorting through my head") into my own life.

10. A draft of the composition of Fedoseeva Tamara.

Turgenev's story "Asya" has left in me sadness and tenderness. The story filled my soul with sadness, and the question involuntarily sounded: why did N.N. do this? Why did Asya leave the next morning? Why aren't the heroes together?

Asya is an unusual girl who feels and experiences everything a little differently, not like an ordinary society girl. She is not afraid of her feelings. Asya is very brave and sincere.

Asya's appearance is unusual, as is her character.

N. N. is an ordinary nobleman who left the capital just to forget his next hobby, which he passes off as true love. N. N. lives for tomorrow. He thinks that tomorrow he will be happy. At the end of the story, these words sound in two tenses: present and past. And only after living his life, he begins to understand that it was wasted: balls, light hobbies.

But nothing can compare with the feelings that he had for Asya, for this strangely changeable girl with an unusual character. N. N. attracted her to Asa lively mood, a face that changed every minute, not like masks instead of faces at balls of society ladies.

N.N. depended on the environment where the relationship was simulated, and with Asya everything was so sincere that he simply could not help falling in love with this open girl. It seems to me that this characterizes him as a person who can truly feel, understand, empathize.

Gagin is a pleasant young man who loves Asya like his own sister. He loved to draw, play the piano, which characterizes him as a person who can feel.

All the protagonists treat each other with respect. The question is: why does it all end so badly? After all, there are no barriers to II and Asya getting married and happy. But this is precisely the whole drama of Turgenev's story "Asya".

I think that Turgenev wanted to show us in the story true, real feelings in all forms. He wanted to say that love is a feeling that fills the whole soul of a person and makes him omnipotent. NN and Asya nobody and nothing prevented them from being together. NN is to blame for this situation. I think that NN had never felt what he felt for Asya before. He could not cope with his new feeling, and therefore, on a date with Asya, he so unexpectedly turns from a very loving person into an indifferent, unexpectedly cruel person.

My attitude to all the characters in the story is different. Good, touching, sympathetic to Asya. To Gagin - indifferent.

And I treat N.N. as a person who has missed his happiness.

In this work, the emotional perception of the story is brought to the fore. The focus is on the theme of love, which has become the main one for the author of the work.

The student seeks to emphasize the "liveliness", the unusualness of Asya in comparison with secular ladies. The position from which the heroes are characterized is interesting. NN - Asya's "choice". Gagin is "ignored" by the author of the composition, apparently as a hero who has no direct relation to the feelings of Asya and N.N.

The author of a work does not always manage to find a grammatically correct form for expressing thoughts; the work is sinful with repetitions, sometimes with speech cliches, behind which the inaccuracy of thought is guessed - its lack of elaboration; emotions prevail over reflection.

It is necessary to revive the essay with key quotes, give examples of episodes in which the characters of the heroes are revealed.

Summing up the general result of the analysis of draft essays, we note the following.

• 1. All works represent an independent reflection of the student over the read.
• 2. Communication with the work of art took place: the students, in varying degrees of expression, entered into a dialogue with the art text, characters, and the author.
• 3. The material of art has become an incentive for reflection on human characters and actions.
• 4. Students have mastered the text well, actively use quotations.
• 5. Most of the works are distinguished by compositional and logical harmony.
• 6. Characterization of characters is given to students easily, but often it has a "curtailed" character, which, we believe, is explained not by ignorance of the material, but by the student's haste in expressing his attitude towards the hero; dislike for careful description, laziness.
• 7. Some key episodes and musical leitmotif of the work were left without attention in some works.
• 8. Introductions and conclusions, on the whole, correspond to the topic, but they clearly do not sufficiently create attitudes towards dialogical thinking.

We will show how the work on the essay can go, highlight the stages of work.

• 1st stage. Preparation for writing.
• 1.1. Clarifying to students the purpose of the work.
• 1.2. Selection of material: portraits of heroes, selection of episodes in which the characters of the heroes are most clearly revealed.
• 1.3. Writing out keywords, quotes that help the author create images of the heroes.
• 1.4. Revealing the author's position.
• 1.5. Determining your own attitude towards each of the heroes. With a successful analysis of the work, this work turns out to be already done in the lesson (on the questions and tasks of the textbook, guidelines for the topic). Let's outline questions that will help students in their work. It will be better if these questions are the result of collective reflection on what to look for when opening the topic of the essay.
• 1) What attracted N.N. to As?
• 2) How does N.N. characterize himself at the beginning of the novel? How do we see the hero at the beginning and at the end of the story?
• 3) How are N.N. and Gagin similar and what distinguishes them?
• 4) In what moments does the hero feel happy?
• 5) How are the characters revealed during the date?
• 6) Why did N.N. do this? How does he himself explain his action?
• 7) Why does “happiness have no tomorrow”?
• 8) How does the author relate to his characters? Match the narrator's intonation at the beginning and end of the story.
• 9) Does my attitude towards the characters change throughout the story? Which of the heroes is closer to me and why?
• 10) When is the music in the text? What role does it play in revealing the characters of the heroes, the author's position?
• 2nd stage. Draft of the main part of the essay
• 2.1. Writing characteristics of the main characters using selected material.
• 2.2. Expression of your own attitude towards heroes.
• 3rd stage. Work on the composition of the main part
• 3.1. How will the heroes be characterized?
• 3.2. Will the outline for characterizing each be the same?
• 3.3. In what part of the characterization of the hero is it more appropriate to express the author's position and one's own attitude towards the hero?
• 4th stage. Writing an introduction and conclusion to work
• 4.1. Do the introduction and conclusion relate to the main body of the essay?
• 4.2. How are the introduction and conclusion related?
• 4.3. To whom are the opening and closing words of the composition addressed?
• 4.4. Are the finals and the beginning of work original or traditional enough?
• 5th stage. Editing a draft of a work
• 5.1. Does the writing style match the theme and genre of the work?
• 5.2. Are there unjustifiably long quotations, repetitions in the work?
• 5.3. Are the author's and readers' positions clearly expressed?
• 5.4. Does the essay have an addressee? (Speech conversion).
• 5.5. What is the nature of the reflections: a statement of the materials cited, reflection on them, the desire to include an imaginary interlocutor in the dialogue?
• 6th stage. Discussion of written papers in class
• 6.1. Reading drafts of essays in class (fragments of works, individual compositional parts).
• 6.2. Reading out 1-2 works. (Encouragements, comments, recommendations).
• 7th stage. Writing an essay
• 8th stage. Analysis of works. Assessment

• Svirina N.M. Literature Grade 8. Part 2: textbook / ed. V.G. Marantzman, M. : Enlightenment. 2001.S. 105-152.
• Svirina N. M. "Happiness has no tomorrow." IS Turgenev's story "Asya" // Literature: guidelines. Grade 8 / ed. V.G. Marantzman. M.: Education, 2004.S. 128-140.

The writing

Central character story - chauffeur Ivan Petrovich Egorov. But the main character can be called reality itself: the long-suffering land on which Sosnovka stands, and the stupid, temporary, and therefore doomed Sosnovka, and Yegorov himself as an integral part of this village, this land - also suffering, doubting, looking for an answer. He was tired of disbelief, he suddenly realized that he could not change anything: he saw that everything was going wrong, that the foundations were crumbling, and he could not save, support. More than twenty years have passed since Yegorov came here, to Sosnovka, from his native flooded Yegorovka which he now remembers every day. Over the years, before his eyes, as never before, drunkenness developed, the former communal ties almost disintegrated, people became, as if strangers to each other, embittered.

Ivan Petrovich tried to resist this - he himself almost lost his life. And so he applied for resignation from work, decided to leave these places, so as not to poison the soul, not to darken the remaining years with daily grief. The fire could spread to the huts and burn out the village; Egorov first of all thought about this, rushing to the warehouses. But there were other thoughts in other heads. If anyone had told Ivan Petrovich about them a decade and a half ago, he would not have believed it. It would not fit into his mind that people in distress can make money without fear of losing themselves, their face. He didn't want to believe it even now. But already - he could. Because everything went to this. Sosnovka itself, no longer in any way similar to the old Yegorovka, disposed to that.

The food warehouse was burning with might and main, "almost the entire village ran away, but it seems that no one was found yet who could organize it into one intelligent solid force capable of stopping the fire." As if nobody really needs anything at all. Ivan Petrovich, and his friend from Yegorovka, Afonya Bronnikov, and the tractor driver Semyon Koltsov - that's almost all who came running to extinguish. The rest - as if to extinguish, but they helped more precisely the fire, because they also destroyed, finding in this their pleasure and their own self-interest. An internal, invisible fire in the hero's soul to none of those around him is more terrible than the one that destroys warehouses. Clothes, food, jewelry, and other goods can then be replenished, reproduced, but it is unlikely that faded hopes will ever revive, and the burnt fields of former kindness and justice will begin to bear fruit again with the same generosity. Ivan Petrovich feels a terrible ruin in himself because he could not realize the creative energy given to him - in it, contrary to logic, there was no need, she bumped into a blank wall that turned out to accept it. Therefore, he is overcome by a destructive discord with himself, that his soul yearned for certainty, but he could not answer it, that for him it is now true, that it is conscience, for he himself, against his will, was pulled out, uprooted from the microworld of Yegorovka. While Ivan Petrovich and Afonya were trying to save flour, cereals, butter, the Arkharovtsy first attacked vodka. Someone ran in new felt boots, taken from the warehouse, someone pulled on new clothes; Klavka Strigunov steals jewelry. “Why is this being done, Ivan ?! What is being done ?! They're dragging everything! " - in fright exclaims Yegorov's wife, Alena, who does not understand how, together with a fire, such human qualities, as decency, conscience, honesty.

And if only the Arkharovtsy dragged everything that caught the eye, but also their own, the Sosnovskys, too: “The old woman, after whom nothing like that was ever found, picked up the bottles thrown out of the yard - and certainly not empty”; One-armed Savely dragged sacks of flour straight to his own bathhouse. Why is this being done? Why are we such and such? - Uncle Misha Hampo could have exclaimed after Alena, if he could speak. He seemed to have moved to "Fire" from "Farewell to Matera" - there he was called Bogodul. It is not for nothing that the author emphasizes this, calling the old man "the spirit of Egorov." He, like Bogodul, hardly spoke, was just as uncompromising and extremely honest. He was considered a born watchman - not because he loved work, but simply "so he cut himself out, out of hundreds of hundreds of regulations, inaccessible to his head, he made the first charter: don't touch someone else's." Alas, even Uncle Misha, who perceived theft as the biggest misfortune, had to put up with it: he was the only one guarding, and almost everyone was dragging. In a duel with the Arkharovtsy, Uncle Misha strangled one of them, Sonya, but he himself was killed with a mallet. Alena, the wife of Ivan Petrovich, in fact, is the only female character in the story. In this woman, the best is embodied, with the disappearance of which the world loses its strength. The ability to live life in harmony with oneself, seeing its meaning in work, in a family, in caring for loved ones. Throughout the story, we will never find Alena thinking about something lofty - she does not speak, but does, and it turns out that her small, habitual business is still more significant than the most beautiful speeches. The image of Alena is one of the secondary images of Fire, and this is indeed so, especially when you consider that in most of Rasputin's stories, it is women who are the main characters (Anna in Farewell to Mother, Nastya in Live and Remember).

But even in "Fire" a whole chapter is devoted to the heroine, containing a kind of mini-set of philosophical views of the prose writer on the subject of research. In Fire, the landscape does not play as significant a role as in Rasputin's previous stories, although here, too, one can feel the writer's desire to introduce him into the world of heroes, and to show the heroes through nature. But the fact of the matter is that nature is disappearing before our eyes: forests are being cut down at the root, and the same devastation occurs in the souls of the heroes. This story, like no other in Rasputin's, is publicistic, and this can be explained by the writer's anxiety not only for the fate of the natural resources of Siberia, but, above all, for the fate of a person who lives here and is losing his roots. Valentin Rasputin says about The Fire as follows: “The story is small in size, but I wanted to contain a lot ... But I did not consider myself entitled to stretch the story, it should have been enough for as long as the warehouses were grief. For me it matters - the correlation of the duration of the story with the duration of the event. " Thus, the writer recognizes the adherence to certain laws of precisely journalistic genres. But the formal approach in this case does not give anything, because we have before us first of all an artistically completed work, and only then - with elements of journalism, in turn dictated by time, the author's pain, which should immediately, at that time, pour out into a warning, warning.

In Fire, Rasputin for the first time singled out marital relations as an independent line, giving them special attention. At the same time, the theme of the modern family, raising children, responsibility to each other sounds in his newspaper publications. However, by the very fact of Alena's uniqueness as a positive female image in the story, Rasputin speaks of the fading of feminine principles in the modern keepers of the hearth, without which life loses harmony, the strength in the soul decreases. Strong connection, the closest interweaving of biography and creativity, specific realities and artistic images... This is characteristic of Rasputin, just like the fact that the artistic fabric is so dense, the situation is so dramatic and psychological that it seems that if he were just a fact from life, everything would be dimmer. Rasputin from chapter to chapter will force the reader to shift anxious look from one fire (in Yegorov's soul) to another (in warehouses) and to the last page, to the final line, will not give a break, will not reduce tension, because everything is important.

In this article we will consider the most famous cycle of Alexander Pushkin - "The Tale of the Late Ivan Petrovich Belkin". Let's talk in particular about the images of the main characters and their meaning for understanding the entire work.

About the work

"The Tale of the Late Ivan Petrovich Belkin" (the main characters will be discussed below) were written by Pushkin in 1830 in the village of Bolshoye Boldino. Everything in the cycle included 5 stories, starting with "Shot" and ending with "The Lady-Peasant".

The cycle begins with a preface "From the Publisher", which was written in October-November 1830. The entire work was first published in 1831.

The main character ("The Tale of the Late Ivan Petrovich Belkin")

Strictly speaking, it is impossible to determine any one main character of all stories, since in each story he is his own. Nevertheless, there is a character who directly or indirectly unites these stories - this is Ivan Petrovich Belkin himself.

He is a character-narrator, a landowner of the village of Goryukhina. The reader knows that he was born in 1789, his father was a second major. He was taught by the village deacon and through him the hero became addicted to writing. From 1815 to 1823 Belkin served in the Jaeger regiment. He died of a fever in 1828, not having lived to see the publication of "his" stories.

Pushkin creates this hero using the following set of literary methods: we learn the story of Belkin's life from a letter from a certain "respectable husband", to whom the publisher is sent by the closest relative of the deceased Trafilin, Maria Alekseevna; the characterization of the hero also includes the epigraph to the entire cycle - the words of the mother about her son Mitrofanushka from the comedy "The Minor" by Fonvizin.

Silvio

Pushkin's main characters are very different from each other. In this respect, Belkin's Tales are simply full of dissimilar and distinctive characters. The clearest example is Silvio, the protagonist of the story "Shot". He is 35 years old, he is a duelist officer who is obsessed with revenge.

Colonel I.L.P. tells about him to Belkin, he is the narrator and the narration is conducted on his behalf. First, the colonel describes his personal impressions of his meeting with Silvio, then retells the episode from the words of Count R. This way of narration gives the reader the opportunity to see the main character through the eyes of different people. Despite the fact that the points of view are different, the very perception of Silvio does not change much. Its immutability is specially emphasized by Pushkin, as well as the desire to seem strange and ambiguous.

Silvio deliberately tries to confuse his actions and frustrates motives. But the more he does this, the easier his character is seen. It is no accident that Pushkin also emphasizes the hero's love for novels. This is where his frantic desire for revenge comes from. And the fact that in the end Silvio shoots not at the enemy, but at the picture, does not in the least change the overall situation. The hero remains a restless romantic who no longer has a place in life.

Marya Gavrilovna

Maria Gavrilovna is the protagonist of Belkin's story "Snowstorm". This story was told to Belkin by the girl K.I.T.

The main character is a 17-year-old pale and slender girl, the daughter of the landowner of the village Nenaradov Gavrila Gavrilovich R. Maria Gavrilovna is endowed with a romantic imagination, that is, she perceives life like literary work... She is a typical lover of French novels and Russian ballads that have recently appeared in literature.

The main characters of Belkin's story "Snowstorm", however, like the heroes of other stories and the narrator himself, are infected with a romantic worldview. They constantly try to stage a romance in life, but they invariably fail.

So, Maria Gavrilovna is plotting something romantic out of her love. Her parents do not like her chosen army ensign. Then the heroine decides to secretly marry him. After that, she sees how the parents will be angry at first, but then they will forgive and call the children to them. But something is going wrong. And the next day after the escape, the heroine is in her own bed, after which she falls ill.

Life brings its own adjustments to romantic dreams. A blizzard knocks Vladimir out of the way. And the girl gets married with an unknown man. Only in the finale it becomes clear who he is. Nevertheless, Pushkin shows very clearly how unviable romantic dreams are.

Adriyan Prokhorov

Prokhorov is the protagonist of Belkin's story "The Undertaker". He serves as an undertaker in Moscow. His story is told by bailiff B.V. Adriyan is a gloomy character, he is not happy with anything, even the fulfillment of his lifelong dream - the family's move with Basmanna to their house on Nikitskaya. But this is not surprising, because Prokhorov is tormented by an almost Hamlet question - to be or not to be near death, merchant Tryukhina. And if she dies, they will send for him or not, because his new home is very far from the place where the dying woman lives.

In this story, Pushkin's voice is heard most strongly. We hear Pushkin's ridicule in describing the life and thoughts of the protagonist. And it soon becomes clear that Adrian's sadness and gloom is not that he constantly sees death, but that he reduces everything in his life to one - whether he will benefit from it or not. So, rain for him is only a source of ruin, and a person is a potential client. To be reborn he is helped by the horror that will catch up with a dream where former "clients" come to him. After waking up from a nightmare, he realizes that now he can rejoice.

Samson Vyrin

Samson Vyrin is completely different from the rest of the main characters ("Belkin's Tale"). In his description, we do not hear Pushkin's ridicule and irony. This is an unfortunate man, a stationmaster, an official of the last class, a real martyr. He has a daughter, Dunya, whom a passing hussar took with him to Petersburg.

The story of Vyrin is told by the titular adviser A.G. N. "The Stationmaster" is the key story in the cycle, which confirms the mention of this in the preface. In addition, Vyrin is the most difficult of all the characters in the work.

The plot of the life of the station master is very simple. After the death of his wife, care for the house and the household falls on the shoulders of Dunya. The passing hussar Minsky, amazed by the girl's beauty, fakes his illness in order to stay longer in Vyrin's house, and then takes her daughter away. The father goes to fetch his daughter, but it has no effect. Minsky first tries to give Vyrin money, and after the appearance of Dunya and her fainting, he kicks him out. The abandoned father gets drunk alone and dies. Dunya arrives at his grave in a gilded carriage to cry.

Alexey I. Berestov

The characters of The Young Peasant Woman are subject to romantic dreams, like almost all the main characters. In this respect, Belkin's Tale is a rather ironic work. The only exception is the history of the stationmaster.

So, Alexey Berestov comes to his native village of Tugilovo. Here he falls in love with Lisa Muromskaya, who lives next door. The hero's father, a Russophile and the owner of a cloth factory, hates his neighbor Muromsky, a passionate Anglomaniac. Alexei himself also strives for everything European and behaves like a dandy. Comically, Pushkin describes the enmity of neighbors, clearly making references to the war of the Scarlet and White Rose and to the enmity of the Capulet and Montague.

Nevertheless, despite the Englishness of Alexei, under his pallor "a healthy blush appears", which fully describes his character. Underneath the feigned romance, a truly Russian person is hidden.

Liza Muromskaya

Liza is the 17-year-old daughter of an Anglomaniac gentleman who squandered all his fortune in the capital, so now she lives in the village without leaving anywhere. She makes a district young lady Pushkin out of her heroine. "Belkin's Tales" (the main characters are considered by us) are inhabited by heroes who will later turn into literary types. So, Liza is the prototype of a district young lady, and Samson Vyrin is a little man.

Lisa's knowledge about the life of light is drawn from books, nevertheless her feelings are fresh, and her experiences are sharp. In addition, the girl is endowed with a strong and clear character. Despite her English upbringing, she feels Russian. It is Liza who finds a way out of the conflict - the children of the warring parents cannot meet and communicate. The girl disguises herself as a peasant, which allows her to see Alexei. The reader sees that Lisa's character is much stronger than that of her lover. It is thanks to her that they end up together at the end of the story.

conclusions

Thus, Pushkin demonstrates to the reader an incredible variety of characters. Its main characters are amazing and unlike each other. This is why Belkin's Tale was such a great success. The piece was in many ways ahead of its time and has many innovative elements.

Pushkin's story "The Captain's Daughter", written by the author in 1833 - 1836, shows the events of the Peasant War of 1773-1773. under the leadership of Emelyan Pugachev. Pushkin carefully collected historical material, worked in archives, and interviewed surviving eyewitnesses. The story, written shortly before the death of Alexander Sergeevich, became a kind of summing up the results of the writer's creative activity. This work examines many (if not all) aspects of the life of a Russian person at the turn of the 18th - 19th centuries, but with particular care, even scrupulousness, the author explores the theme of patriotism, the problems of honor and duty in people's lives, proceeding from the Christian understanding of the events taking place with the main characters.

The main character of the work is a direct participant in the events of the Peasant War, memoirist Pyotr Grinev. It is he who serves as a kind of model, a measure of all the positive qualities of a Russian person. His image is the image of a real Orthodox Christian, and in its entirety this image is revealed by the author in the conditions of the terrible, bloody and merciless Pugachev revolt. It is shocks, ordeals and disasters that can reveal “ inner man", To understand, in the words of the famous musician Yuri Shevchuk," what kind we are. This is clearly presented to us in The Captain's Daughter. Some, like Shvabrin, show cowardice in these conditions, while others, like Grinev himself, accept events "without bowing to them." We see that big role Grinev's upbringing plays here. In general, it must be said that the external side of the upbringing of the young master described in the story was, on the whole, typical of his time. Up to a certain age, the child was raised by servants - serfs, uncles, who gave him the initial knowledge necessary for life, and then, for the further education of the barchuk, a tutor was hired, usually from abroad. Pushkin very expressively depicts the image of a former soldier and hairdresser, Monsieur Beaupre, who became Petrusha's educator. The hero himself shows his "educational process" with undisguised irony, and therefore it may seem strange how such a brave, magnanimous and fearless person could turn out of him. However, we see that with some external alienation of the parents, it was they who were able to invest in their son high spiritual qualities. The model for Peter is his father - a military officer, a man of duty and honor. It is he who lays in his son the main, key motives that will move him in the events that have befallen him - the instruction "to serve the one to whom you swear" and "to preserve honor from a young age." The father teaches his son a reverent attitude towards military service, immediately knocking out of Peter the desire for an easy and cheerful life in the capital's guards regiment. The father wants to see his son as a real soldier, not a drunkard and a rake. This very moment testifies to the high level of patriotism among the main characters. In a desire to bring as much benefit to the Fatherland as possible, Grinev Sr. sacrifices his own son to him, depriving him of a warm and carefree existence in the capital. At the same time, Grinev Jr. accepts this with humility, and obeys the will of his father without murmuring.

An honest and reverent attitude towards the sovereign's service is manifested in the course of the narrative and in other heroes. For example, Captain Mironov - the head of the fortress, where Pyotr Grinev gets to serve - despite the external security and remoteness of the fortress, selflessly fulfills his duty, every day arranging exercises among a small garrison. His wife, Vasilisa Yegorovna, who, as the commandant's wife, refuses to leave the fortress in the face of imminent death, wishing to die as soon as possible with the brave defenders, matches him. The attitude to public service, to their Fatherland and the Tsarina is manifested in the heroes especially clearly in the face of death threatening from the Pugachev rebels. Captain Mironov, who decided on a daring sortie, finds himself in the hands of the rebels and resolutely refuses to swear allegiance to the impostor, for which the rebels will be hanged. His example is followed by Ivan Ignatyevich, faithful to his duty, and Grinev, having happily escaped this fate, nevertheless, was quite ready for such a death, refusing the oath to Pugachev to the end.

Throughout the story, the heroes of The Captain's Daughter are driven by high feeling morality, which becomes an integral character trait of positive characters. First of all, these are concepts such as honesty and sincerity. Mironov acts honestly, not wanting to stain himself with apostasy from the oath. Grinev honestly acts when he gives the lost money to Zurin, although, it would seem, it was possible to excuse himself by being young and ignorant, finally referring to the scarcity of funds, but no! Heroes are honest with themselves and with their loved ones. And here the main feature of their behavior comes to the fore, its core is obedience to parents. King Solomon in the Book of Wisdom says: "He who does not listen to his parents and blasphemes them - abides in darkness." And what does the famous fifth Commandment of the Decalogue indicate? Obedience to parents is equated in the Holy Scriptures with obedience to God. And here we see striking confirmation of this in "The Captain's Daughter" - we can say that the ultimate happiness of the main characters is due to their obedience: Masha does not marry Peter without her parental will (which, most likely, would have resulted in death for both her and Grinev ); following his father's blessing, Peter does not betray his oath, and thus turns out to be saved from execution and hard labor. Even the fact that Grinev listens to his uncle Savelich, who in fact is not only Petrusha's educator, but also his servant, can, albeit somewhat conditionally, be considered the same model of obedience.

In general, the story features such a complex topic as the relationship between serfs and their masters. And the moral parallel Savelich - Grinev stands against the communist standard of an omnipotent, despotic owner and oppressed peasants. Of course, Peter does not always behave like a Christian towards the old man, but, nevertheless, he always asks for his forgiveness; Grinev is tormented by his conscience regarding the insults he inflicted on Savelich. Savelich, in turn, is ready to lay down his life for his master. That is, in the relationship between a formally boss and a subordinate, we see the relationship of two spiritually relatives, people close to each other. In all this, there is a pronounced Christian thread of high morality and ethics.

A counterweight positive characters there are heroes - antagonists. Here they are really, in the full sense of the word, "antagonists", because they represent a directly opposite way of thinking and behavior. This is also the opportunist Shvabrin, whose behavior is a real "antipatriotism". If for Grinev the people around him are most important in life, then Shvabrin is closed and focused only on himself, only his own life is dear to him. Moreover, it is revenge, it is evil, which, in the end, will destroy him. As for the other antagonist, Pugachev, his image by Pushkin is rather romanticized, but, nevertheless, he is in the true sense of the word "antihero", because he is primarily a rebel, and rebellion is always resistance to the Divine Will, this is the fight against God. And therefore, although he possesses high spiritual qualities, this person ultimately becomes a symbol of the evil brought to him - evil, not good.

In conclusion, I would like to note that Pushkin touched upon in his work the concepts of rebellion and humility, which are fundamental for Russia and the Russian people, as two completely opposite, polar concepts. Rebellion in the understanding of the Orthodox faith is a fight against God, because it opposes the established world order by God. That is why it contrasts with faith in God and Christian humility, which are the key to a happy life.

Eldar Kostuev

2nd year student of DDS

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IntroductionWhen we read the title of A. Pushkin's novel, "The Captain's Daughter", we thought that the novel describes the life of a girl whose father is a captain. After reading the novel, we wondered why it was named that way. We think that initially Pushkin wanted to write a novel dedicated only to the Pugachev movement, but the censorship would hardly have let him through. Therefore, the main plot of the story becomes the service of the young nobleman Pyotr Grinev, thanks to his love for the captain's daughter Belogorsk fortress Mironov. The author pays great attention to the reader on Pugachev, then the question is asked: why does Pushkin make the main characters of the novel not Pugachev, but Grinev and calls him captain's daughter? Maybe Pushkin called his novel "The Captain's Daughter" because it was the captain's daughter, Masha Mironova, the beloved of the protagonist who met the Empress. This is how she reveals her character as the captain's daughter - a simple Russian girl, insecure, uneducated, but who at the necessary moment found strength, fortitude and determination in herself to justify her fiancé. We have designated

Object of study - the story "The Captain's Daughter". Research base - the heroes of the story "The Captain's Daughter". The relevance of research consists in the fact that the story reveals the problems of duty, honor and love. Purpose of the study study additional literature and find out what were the prototypes of the heroes and their morality. We hypothesized thatthat the more we know about the problems of love, the more we never cease to be amazed at the problems of morality and honor.

We have set ourselves tasks

Explore additional material;

Reveal the characteristics of the heroes;

Reveal prototypes of these heroes;

Find out how prototypes affect the inner world of the heroes.

Our research work has gone through the following stages

"The Captain's Daughter" attracts the attention of researchers not only as one of the highest achievements of Pushkin's prose. This novel is an extremely important source for determining the socio-political position of Pushkin in last years his life. After all, it speaks of a peasant "revolt" and its leader; about a nobleman involved in the antifeudal struggle of the peasants, that is, about those problems that worried Pushkin throughout almost his entire conscious life.

Heroes of the story

Pyotr Andreevich Grinev Maria Ivanovna Mironova Emelyan Pugachev Shvabrin Savelich Arkhip Savelyev Captain Mironov Ivan Kuzmich Captain Vasilisa Egorovna Ivan Ignatyich Zurin Ivan Ivanovich Beaupre Empress Catherine II the Great General Andrei Karlovich Andrei Petrovich Grinev Mother Peter Grine

Characteristics of the main characters

For our research work, we have selected three main characters. These are two opposed heroes - Shvabrin and Grinev and their "common" love Masha Mironova.

Characteristic of Peter Grinev Petr Andreevich Grinev is a person who strives for self-improvement. He was not given a formal education, but moral education he received. His mother loved him, but spoiled him in moderation, entrusting the upbringing to his father. Andrei Grinev wanted to teach his son discipline and sent him to serve in the Belogorsk fortress. Savelich, a servant, was kind and loyal, he helped in a difficult situation. Then Pyotr Grinev will become the same. Peter, having escaped to freedom, will lose at cards, will be rude to the servant, but he is conscientious, therefore he will apologize and will never drink and play again. Petr Andreevich knew how to be friends, love, serve, keep his word, help people. He lived a decent life and can be an example. Grinev all his life followed his father's behest: take care of honor from a young age. It is no coincidence that this proverb is used as an epigraph, and then sounds from the lips of the protagonist's father.

Characteristics of Alexei Shvabrin Shvabrin is given as the direct opposite of Grinev. He is more educated, perhaps even smarter than Grinev. But in him there is neither kindness, nor nobility, nor a sense of honor and duty. His transfer to the service of Pugachev was caused not by high ideological motives, but by low self-serving interests. The attitude of the author of the "notes" and the writer to him is quite clear, and he evokes a feeling of contempt and indignation in the reader. In the composition of the novel, Shvabrin plays an important role as a hero of love and social life; without him, the storyline of Grinev and Masha would be difficult to build.

Characteristics of Masha Mironova Masha Mironova is a young girl, daughter of the commandant of the Belogorsk fortress. It was her that the author had in mind when giving the title of his story. This is an ordinary Russian girl, "chubby, ruddy, with light blond hair." By nature, she was cowardly: she was afraid even of a rifle shot. Masha lived rather isolated, lonely; there were no suitors in their village. This image personifies high morality and spiritual purity. An interesting detail: the story contains very few conversations, in general the words of Masha. This is no coincidence, since the strength of this heroine is not in words, but in the fact that her words and deeds are always infallible. All this testifies to the extraordinary integrity of Masha Mironova. Masha combines simplicity with a high moral sense. She immediately correctly assessed the human qualities of Shvabrin and Grinev. And in the days of trials, which many fell to her lot (the seizure of the fortress by Pugachev, the death of both parents, captivity at Shvabrin), Masha retains unshakable fortitude and presence of mind, loyalty to her principles. Finally, in the finale of the story, saving her beloved Grinev, Masha, as an equal with an equal, talks to the empress she does not recognize and even contradicts her. As a result, the heroine wins, freeing Grinev from prison. Thus, the captain's daughter Masha Mironova is the bearer of the best traits of the Russian national character.

What are prototypes? Studying additional literature, we learned that prototypes are usually called those real-life people from whom the writer went to create an artistic image.

We cannot fully trace the path of an artist to create a work of art. Before us, as the subject of analysis, is the work of art itself. We can and should know the reality that the artist as a whole has displayed, but we should not try to break it up into separate moments that seem to be geometrically exactly repeated in a work of art.

Grinev and Shvabrin prototypes

It was argued, for example, that the prototype of Grinev and Shvabrin is the same person - Shvanvich. Meanwhile, Grinev is not at all like Shvabrin. According to the original plan, the hero of the novel was to be a nobleman who voluntarily sided with Pugachev. Its prototype was the second lieutenant of the 2nd Grenadier Regiment Mikhail Shvanovich (in the plans of the novel Shvanovich), who "preferred a vile life to an honest death." His name was mentioned in the document "On the punishment by death of the traitor, rebel and impostor Pugachev and his accomplices." Later, Pushkin opted for the fate of another real participant in the Pugachev events - Basharina. Basharin was taken prisoner by Pugachev, escaped from captivity and entered the service of one of the suppressors of the uprising, General Mikhelson. The name of the protagonist changed several times until Pushkin settled on the surname Grinev. In the government message on the liquidation of the Pugachev uprising and the punishment of Pugachev and his accomplices on January 10, 1775, Grinev's name was listed among those who were initially suspected of “communicating with the villains”, but “were innocent by investigation” and were released from arrest. As a result, instead of one hero-nobleman, the novel turned out to be two: Grinev was opposed by the traitorous nobleman, the "vile villain" Shvabrin, which could facilitate the passage of the novel through censorship barriers Prototype Masha Mironova

Much has been said about the prototype of Masha Mironova from The Captain's Daughter. The "Russian Archive" even stated that its prototype was a young Georgian (PA Klopitonov), who got into the Tsarskoye Selo garden and talked about statues with the Empress; it was also claimed that this very Georgian was nicknamed "the captain's daughter". But it turned out that AS Pushkin wrote the image of Masha Mironova from the noble daughter of Marya Vasilievna Borisova, whom he met and talked to at the Christmas ball in 1829 in the town of Staritsa, Tver province. Pushkin was a connoisseur of women's souls and, apparently, a simple, naive and unremarkable girl still impressed him with her honesty, openness, pride and strength of character. The poet endowed the captain's daughter Masha Mironova with all these qualities.

Conclusion

The results of the study of literary sources, analysis and systematization of the materials showed that the hypothesis put forward by us turned out to be correct. Russian writers have always addressed in their works the problem of honor and morality. It seems to us that this problem was and is one of the central ones in Russian literature. Honor ranks first among the moral symbols. You can survive many troubles and hardships, but, probably, not a single people on earth will accept the decay of morality. Loss of honor is the fall of moral standards, which is always followed by punishment. The concept of honor is brought up in a person from childhood. So, the example of the story of Alexander Sergeevich Pushkin "The Captain's Daughter" clearly shows how this happens in life and to what results. This work taught us that it is necessary in life to seek our truth, our life path, stay true to your views and principles, be a persistent and courageous person to the end. But everyone knows it's difficult. How difficult it was for Grinev, Masha Mironova, her father, Captain Mironov, that is, for all those people for whom honor is above all. And we can say with confidence that the epigraph to the story "Take care of the honor from your youth" will be a guiding star for us and my peers.

Bibliography

Belousov A.F. School folklore. - M, 1998.

"The Captain's Daughter"., A.S. Pushkin., 1836.

Ozhegov S.I. Dictionary of the Russian language. - M., 1984.

Suslova A.V., Superanskaya A.V. Modern Russian surnames. - M., 1984.

Shansky N.M. Words born in October. - M., 1980.

Internet resources

https://ru.wikipedia.org/wiki/

http://biblioman.org/compositions