Brief summary of the trilogy of Leo Tolstoy. "Poetic idea" in the trilogy of L.N. Tolstoy "Childhood", "Adolescence", "Youth"

On August 12, 18**, ten-year-old Nikolenka Irtenev wakes up on the third day after his birthday at seven o’clock in the morning. After the morning toilet, teacher Karl Ivanovich takes Nikolenka and his brother Volodya to greet their mother, who is pouring tea in the living room, and their father, who is giving housekeeping instructions to the clerk in his office.

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Nikolenka feels pure and clear love for his parents, he admires them, making accurate observations for himself: “... in one smile lies what is called the beauty of the face: if a smile adds charm to the face, then it is beautiful; if she does not change it, then her face is ordinary; if she spoils it, then it is bad.” For Nikolenka, her mother’s face is beautiful, angelic. The father, due to his seriousness and severity, seems mysterious to the child, but undoubtedly beautiful man, which “is liked by everyone without exception.”

The father announces to the boys his decision - tomorrow he is taking them with him to Moscow. The whole day: studying in classes under the supervision of Karl Ivanovich, who was upset by the news he had received, and the hunt on which the father takes the children, and the meeting with the holy fool, and the last games, during which Nikolenka feels something like her first love for Katenka - everything this is accompanied by a sorrowful and sad feeling of the upcoming farewell to one’s home. Nikolenka remembers happy time, spent in the village, the courtyard people, selflessly devoted to their family, and the details of the life lived here appear before him vividly, in all the contradictions that his childhood consciousness is trying to reconcile.

The next day at twelve o'clock the carriage and chaise are standing at the entrance. Everyone is busy preparing for the trip, and Nikolenka feels especially keenly the discrepancy in importance last minutes before parting and the general bustle reigning in the house. The whole family gathers in the living room around round table. Nikolenka hugs her mother, cries and thinks about nothing but her grief. Having left for high road, Nikolenka waves a handkerchief to his mother, continues to cry and notices how tears give him “pleasure and joy.” He thinks about his mother, and all Nikolenka’s memories are imbued with love for her.

For a month now, the father and children have been living in Moscow, in their grandmother’s house. Although Karl Ivanovich was also taken to Moscow, the children are taught by new teachers. On her grandmother’s name day, Nikolenka writes her first poems, which are read in public, and Nikolenka especially worries about this moment. He meets new people: Princess Kornakova, Prince Ivan Ivanovich, the Ivin relatives - three boys, almost the same age as Nikolenka. When communicating with these people, Nikolenka develops his main qualities: natural keen observation, inconsistency in his own feelings. Nikolenka often looks at herself in the mirror and cannot imagine that someone could love him. Before going to bed, Nikolenka shares his experiences with his brother Volodya, admits that he loves Sonechka Valakhina, and his words reveal all the childish, genuine passion of his nature. He admits: “... when I lie and think about her, God knows why I feel sad and really want to cry.”

Six months later, the father receives a letter from his mother from the village saying that during a walk she caught a severe cold, fell ill, and her strength is melting every day. She asks to come and bring Volodya and Nikolenka. Without hesitation, the father and sons leave Moscow. The worst premonitions are confirmed - for the last six days, mummy has not gotten up. She can't even say goodbye to her children - her open eyes they no longer see anything... Mama dies on the same day in terrible suffering, having only managed to ask for a blessing for the children: “Mother of God, do not leave them!”

The next day, Nikolenka sees his mother in the coffin and cannot come to terms with the thought that this yellow and waxy face belongs to the one whom he loved most in his life. The peasant girl, who is brought to the deceased, screams terribly in horror, Nikolenka screams and runs out of the room, struck by the bitter truth and despair in front of the incomprehensibility of death.

Three days after the funeral, the whole house moves to Moscow, and with the death of her mother, the happy time of childhood ends for Nikolenka. When he later came to the village, he always came to his mother’s grave, not far from which they buried his faithful daughter. last days their home Natalya Savishna.

Lev Nikolaevich Tolstoy

Childhood. Adolescence. Youth

© AST Publishing House LLC, 2017

Teacher Karl Ivanovich

On August 12, 18..., exactly the third day after my birthday, on which I turned ten years old and on which I received such wonderful gifts, at seven o’clock in the morning Karl Ivanovich woke me up by hitting me over my head with a cracker made of sugar paper. on a stick - on a fly. He did it so awkwardly that he touched the image of my angel hanging on the oak headboard of the bed, and the killed fly fell right on my head. I stuck my nose out from under the blanket, stopped the icon with my hand, which continued to swing, threw the dead fly onto the floor and, although sleepy, looked at Karl Ivanovich with angry eyes. He, in a colorful cotton robe, belted with a belt made of the same material, in a red knitted skullcap with a tassel and in soft goat boots, continued to walk near the walls, take aim and clap.

“Suppose,” I thought, “I am small, but why does he bother me? Why doesn’t he kill flies near Volodya’s bed? there are so many of them! No, Volodya is older than me; and I am the least of all: that is why he torments me. “That’s all he thinks about all his life,” I whispered, “how I can make trouble.” He sees very well that he woke me up and scared me, but he acts as if he doesn’t notice... he’s a disgusting man! And the robe, and the cap, and the tassel - how disgusting!”

While I was thus mentally expressing my annoyance with Karl Ivanovich, he walked up to his bed, looked at the clock that hung above it in an embroidered beaded shoe, hung the firecracker on a nail and, as was noticeable, turned around in the most pleasant mood to us.

– Auf, Kinder, auf!.. s’ist Zeit. Die Mutter ist schon im Saal! - he shouted in a kind German voice, then he came up to me, sat down at my feet and took a snuff box out of his pocket. I pretended to be asleep. Karl Ivanovich first sniffed, wiped his nose, snapped his fingers, and then only began to take care of me. He chuckled and began tickling my heels. - Nu, nun, Faulenzer! - he said.

No matter how afraid I was of being tickled, I did not jump out of bed and did not answer him, but only hid my head deeper under the pillows, kicked my legs with all my might and tried every effort to restrain myself from laughing.

“How kind he is and how he loves us, and I could think so badly of him!”

I was annoyed both with myself and with Karl Ivanovich, I wanted to laugh and I wanted to cry: my nerves were upset.

- Ach, lassen Sie, Karl Ivanovich! – I shouted with tears in my eyes, sticking my head out from under the pillows.

Karl Ivanovich was surprised, left my soles alone and began to ask me with concern: what am I talking about? Did I see anything bad in my dream?.. His good german face, the sympathy with which he tried to guess the reason for my tears made them flow even more profusely: I was ashamed, and I did not understand how, just a minute before, I could not love Karl Ivanovich and find his robe, cap and tassel disgusting; now, on the contrary, it all seemed extremely sweet to me, and even the tassel seemed clear proof of his kindness. I told him that I was crying because I had a bad dream - that maman had died and they were carrying her to bury her. I invented all this because I absolutely did not remember what I dreamed that night; but when Karl Ivanovich, touched by my story, began to console and calm me down, it seemed to me that I had definitely seen this horrible dream, and the tears began to flow for another reason.

When Karl Ivanovich left me and I sat up in bed and began to pull stockings over my small legs, the tears subsided a little, but the gloomy thoughts about the imaginary dream did not leave me. Uncle Nikolai came in - a small, clean man, always serious, neat, respectful and a great friend of Karl Ivanovich. He carried our dresses and shoes: Volodya’s boots, but I still had unbearable shoes with bows. In front of him I would be ashamed to cry; Moreover, the morning sun was shining cheerfully through the windows, and Volodya, imitating Marya Ivanovna (his sister’s governess), laughed so cheerfully and sonorously, standing over the washbasin, that even the serious Nikolai, with a towel on his shoulder, with soap in one hand and a washstand in the other, smiling and said:

“If you please, Vladimir Petrovich, please wash yourself.”

I was completely amused.

– Sind Sie bald fertig? – Karl Ivanovich’s voice was heard from the classroom.

His voice was stern and no longer had that expression of kindness that touched me to tears. In the classroom, Karl Ivanovich was a completely different person: he was a mentor. I quickly dressed, washed and, still with a brush in my hand, smoothing my wet hair, came to his call.

Karl Ivanovich, with glasses on his nose and a book in his hand, sat in his usual place, between the door and the window. To the left of the door there were two shelves: one was ours, the children’s, the other was Karl Ivanovich’s, own. On ours there were all kinds of books - educational and non-educational: some stood, others lay. Only two large volumes of “Histoire des voyages”, in red bindings, rested decorously against the wall; and then they went, long, thick, large and small books - crusts without books and books without crusts; It used to be that you pressed it all in and stuck it in when they ordered you to put the library in order before the recreation, as Karl Ivanovich loudly called this shelf. Collection of books on own if it was not as large as ours, it was even more varied. I remember three of them: a German brochure on manuring cabbage gardens - without binding, one volume of history Seven Years' War- in parchment, burned from one corner, and full course hydrostatics. Karl Ivanovich bo ́ spent most of his time reading, even ruining his eyesight with it; but apart from these books and The Northern Bee, he read nothing.

Among the objects lying on Karl Ivanovich’s shelf, there was one that reminds me of him most of all. This is a cardon circle inserted into a wooden leg, in which this circle was moved by means of pegs. On the mug was pasted a picture representing caricatures of some lady and a hairdresser. Karl Ivanovich was very good at gluing and he invented this circle himself and made it in order to protect his weak eyes from bright light.

How now I see in front of me a long figure in a cotton robe and a red cap, from under which one can see rare White hair. He sits next to a table on which there is a circle with a hairdresser, casting a shadow on his face; in one hand he holds a book, the other rests on the arm of the chair; next to him lies a watch with a huntsman drawn on the dial, checkered scarf, black round snuff box, green case for glasses, tongs on a tray. All this lies so decorously and neatly in its place that from this order alone one can conclude that Karl Ivanovich has a clear conscience and a calm soul.

It used to be that you would run downstairs downstairs to your fullest, tiptoe up to the classroom, and you would see Karl Ivanovich sitting alone in his chair, reading one of his favorite books with a calmly majestic expression. Sometimes I caught him at moments when he was not reading: his glasses hung lower on his large aquiline nose, his blue half-closed eyes looked with some special expression, and his lips smiled sadly. The room is quiet; All you can hear is his steady breathing and the striking of the clock with the huntsman.

Sometimes he wouldn’t notice me, but I would stand at the door and think: “Poor, poor old man! There are many of us, we play, we have fun, but he is alone, and no one will caress him. He says the truth that he is an orphan. And the story of his life is so terrible! I remember how he told it to Nikolai - it’s terrible to be in his position!” And it would become so pathetic that you would go up to him, take him by the hand and say: “Lieber Karl Ivanovich!” He loved it when I told him that; He always caresses you, and you can see that he is touched.

On the other wall hung land maps, all almost torn, but skillfully glued by the hand of Karl Ivanovich. On the third wall, in the middle of which there was a door down, on one side hung two rulers: one was cut up, ours, the other was brand new, own, used by him more for encouragement than for shedding; on the other, a black board on which our major offenses were marked with circles and small ones with crosses. To the left of the board there was a corner where we were forced to kneel.

How I remember this corner! I remember the damper in the stove, the vent in this damper and the noise it made when it was turned. It happened that you were standing in the corner, so that your knees and back hurt, and you thought: “Karl Ivanovich forgot about me: he must be comfortable sitting on an easy chair and reading his hydrostatics, but what about me?” - and you begin, to remind yourself, slowly open and close the damper or pick the plaster from the wall; but if suddenly too large a piece falls to the ground with a noise, really, fear alone is worse than any punishment. You look back at Karl Ivanovich, and he’s sitting with a book in his hand and doesn’t seem to notice anything.

In the middle of the room stood a table covered with torn black oilcloth, from under which in many places one could see the edges, cut by pocket knives. Around the table there were several unpainted stools, but varnished from long use. The last wall was occupied by three windows. This was the view from them: right under the windows there was a road on which every pothole, every pebble, every rut had long been familiar and dear to me; behind the road there is a trimmed linden alley, behind which in some places you can see a wicker picket fence; across the alley you can see a meadow, on one side of which there is a threshing floor, and on the contrary a forest; Far away in the forest you can see the watchman's hut. From the window to the right you can see part of the terrace on which the big ones usually sat until lunch. It used to happen, while Karl Ivanovich was correcting a sheet of paper with a dictation, you would look in that direction, see your mother’s black head, someone’s back, and vaguely hear talking and laughter from there; It becomes so annoying that you can’t be there, and you think: “When will I be big, will I stop studying and will always sit not at dialogues, but with those I love?” The annoyance will turn into sadness, and, God knows why and about what, you will become so thoughtful that you won’t hear how angry Karl Ivanovich is for his mistakes.

Like all works of Leo Tolstoy, the trilogy “Childhood. Adolescence. Youth” was, in fact, the embodiment large quantity plans and undertakings. While working on the work, the writer carefully honed every phrase, every plot combination, tried to subordinate everything artistic media strict adherence to the general idea. In the text of Tolstoy’s works, everything is important, there are no trifles. Every word is used for a reason, every episode is thought out.

The main goal L.N. Tolstoy is showing the development of a person as an individual during his childhood, adolescence and youth, that is, during those periods of life when a person most fully feels himself in the world, his indissolubility with it, and then when he begins to separate himself from the world and understanding of its environment. Individual stories form a trilogy, the action in them takes place according to the idea, first in the Irtenevs’ estate (“Childhood”), then the world expands significantly (“Adolescence”). In the story “Youth,” the theme of family and home sounds much more muted, giving way to the theme of Nikolenka’s relationship with outside world. It is no coincidence that with the death of the mother in the first part the harmony of relationships in the family is destroyed, in the second the grandmother dies, taking with her enormous moral strength, and in the third the father remarries a woman whose smile is always the same. The return of former family happiness becomes completely impossible. There is a logical connection between the stories, justified primarily by the writer’s logic: the formation of a person, although divided into certain stages, is actually continuous.

The first-person narration in the trilogy establishes the connection between the work and literary traditions that time. In addition, it psychologically brings the reader closer to the hero. And finally, such a presentation of events indicates a certain degree of autobiographical nature of the work. However, it cannot be said that autobiography was the most in a convenient way to embody a certain idea in the work, since it was precisely this, judging by the statements of the writer himself, that did not allow the original idea to be realized. L.N. Tolstoy conceived the work as a tetralogy, that is, he wanted to show four stages of development human personality, But philosophical views The writer himself at that time did not fit into the framework of the plot. Why an autobiography? The fact is that, as N.G. Chernyshevsky said, L.N. Tolstoy “extremely carefully studied the types of life of the human spirit in himself,” which gave him the opportunity to “paint pictures of the internal movements of a person.” However, what is important is that there are actually two main characters in the trilogy: Nikolenka Irtenyev and an adult who remembers his childhood, adolescence, and youth. Comparison of the views of a child and an adult individual has always been the object of interest of L.N. Tolstoy. And distance in time is simply necessary: ​​L.N. Tolstoy wrote his works about everything that this moment he was worried, and that means there should have been a place in the trilogy for an analysis of Russian life in general.

Each chapter contains a certain thought, an episode from a person’s life. Therefore, the construction within the chapters is subordinated internal development, conveying the hero’s state. Tolstoy's long phrases, layer by layer, level by level, build a tower of human sensations and experiences. L.N. Tolstoy shows his heroes in those conditions and in those circumstances where their personality can manifest itself most clearly. The hero of the trilogy finds himself facing death, and here all conventions no longer matter. Shows the hero's relationship with ordinary people, that is, a person is, as it were, tested by the “nationality”. Small but incredibly bright inclusions in the fabric of the narrative are woven into moments in which we're talking about about what goes beyond the child’s understanding, what can be known to the hero only from the stories of other people, for example, war. Contact with something unknown, as a rule, turns into almost a tragedy for a child, and memories of such moments come to mind primarily in moments of despair. For example, after a quarrel with St.-Jerome. Nikolenka begins to sincerely consider herself illegitimate, recalling snatches of other people’s conversations.

Of course, L.N. Tolstoy masterfully uses such traditional Russian literature methods of presenting a person’s characteristics as describing a portrait of a hero, depicting his gesture, manner of behavior, since all these are external manifestations inner world. Extremely important speech characteristic heroes of the trilogy. Exquisite French good for people comme il faut, a mixture of German and broken Russian characterizes Karl Ivanovich. It is also not surprising that the German’s heartfelt story is written in Russian with occasional inclusions of German phrases.

So, we see that L.N. Tolstoy’s trilogy “Childhood. Adolescence. Youth” is built on a constant comparison of the internal and external world of a person. The main goal of the writer, of course, was to analyze what constitutes the essence of each person. And in the skill of carrying out such analysis, in my opinion, L.N. Tolstoy has no equal.

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The main goal of L. N. Tolstoy is to show the development of a person as an individual during his childhood, adolescence and youth, that is, during those periods of life when a person most fully feels himself in the world, his indissolubility with it, and then when the separation of himself begins from the world and understanding of its environment. Individual stories make up a trilogy, the action in them takes place according to the idea, first in the Irtenevs’ estate (“Childhood”), then the world expands significantly (“Adolescence”). In the story “Youth,” the theme of family and home sounds much more muted, giving way to the theme of Nikolenka’s relationship with the outside world. It is no coincidence that with the death of the mother in the first part the harmony of relationships in the family is destroyed, in the second the grandmother dies, taking with her enormous moral strength, and in the third the father remarries a woman whose smile is always the same. The return of former family happiness becomes completely impossible. There is a logical connection between the stories, justified primarily by the writer’s logic: the formation of a person, although divided into certain stages, is actually continuous.

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The first-person narration in the trilogy establishes the connection of the work with the literary traditions of the time. In addition, it psychologically brings the reader closer to the hero. And finally, such a presentation of events indicates a certain degree of autobiographical nature of the work. However, it cannot be said that autobiography was the most convenient way to realize a certain idea in a work, since it was precisely this, judging by the statements of the writer himself, that did not allow the original idea to be realized. L.N. Tolstoy conceived the work as a tetralogy, that is, he wanted to show the four stages of development of the human personality, but the philosophical views of the writer himself at that time did not fit into the framework of the plot.

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Why an autobiography? The fact is that, as N.G. Chernyshevsky said, L.N. Tolstoy “extremely carefully studied the types of life of the human spirit in himself,” which gave him the opportunity to “paint pictures of the internal movements of a person.” However, what is important is that there are actually two main characters in the trilogy: Nikolenka Irtenyev and an adult who remembers his childhood, adolescence, and youth. Comparison of the views of a child and an adult individual has always been the object of interest of L. N. Tolstoy. Yes, and distance in time is simply necessary: ​​L. N. Tolstoy wrote his works about everything that worried him at the moment, which means that in the trilogy there should have been a place for the analysis of Russian life

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Each chapter contains a certain thought, an episode from a person’s life. Therefore, the construction within the chapters is subordinated to internal development, the conveyance of the hero’s state. Tolstoy's long phrases, layer by layer, level by level, build a tower of human sensations and experiences. L.N. Tolstoy shows his heroes in those conditions and in those circumstances where their personality can manifest itself most clearly. The hero of the trilogy finds himself facing death, and here all conventions no longer matter. The hero’s relationship with ordinary people is shown, that is, the person is, as it were, tested by the “nationality”.

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In small but incredibly bright inclusions, moments are woven into the fabric of the narrative in which we are talking about something that goes beyond the understanding of a child, which can only be known to the hero from the stories of other people, for example, war. Contact with something unknown, as a rule, turns into almost a tragedy for a child, and memories of such moments come to mind primarily in moments of despair. For example, after a quarrel with St.-Jerme, Nikolenka begins to sincerely consider herself illegitimate, recalling snatches of other people’s conversations.

Lev Nikolaevich Tolstoy is one of the most famous Russian writers. His most famous novels are “Anna Karenina”, “Sunday”, “War and Peace”, as well as the trilogy “Childhood, Adolescence, Youth”. Many of the great writer’s works were filmed, so in our time we have the opportunity not only to read, but also to see the heroes of the novels with our own eyes. One of the books filmed is the complete interesting events trilogy “Childhood, adolescence, youth”. A brief summary of the novel will help you better understand the problems of the work. Perhaps someone will have a desire to read the novel in full.

Novel "Childhood, adolescence, youth"

Lev Nikolaevich wrote his novel for five years. The work “Childhood, adolescence, youth” tells about the life of a boy in different periods his life. The book describes the experiences, first love, grievances, as well as the feeling of injustice that many boys experience as they grow up. In this article we will talk about the trilogy written by Leo Tolstoy. “Childhood, adolescence, youth” is a work that will definitely not leave anyone indifferent.

“Childhood, adolescence, youth.” Summary. Book one. "Childhood"

The novel begins with a description of Nikolenka Irtenyev, who turned 10 years old some time ago. Karl Ivanovich, the teacher, takes him and his brother to their parents. Nikolenka loves her parents very much. The father announces to the boys that he is taking them with him to Moscow. The children are upset by their father’s decision, Nikolenka likes to live in the village, communicate with Katenka, his first love, and go hunting, and he really doesn’t want to part with his mother. Nikolenka has been living with her grandmother for six months now. On her birthday, he reads poetry to her.

Soon the hero realizes that he is in love with Sonechka, whom he recently met, and confesses this to Volodya. Suddenly his father receives a letter from the village saying that Nikolenka’s mother is sick and asks them to come. They come and pray for her health, but to no avail. After some time, Nikolenka was left without a mother. This left a deep imprint on his soul, since this was the end of his childhood.

Book two. "Adolescence"

The second part of the novel “Childhood, Adolescence, Youth” describes the events that occurred after Nikolenka moved to Moscow with her brother and father. He feels changes in himself and in his attitude towards the world around him. Nikolenka is now able to empathize and sympathize. The boy understands how his grandmother suffers after losing her daughter.

Nikolenka goes deeper and deeper into herself, believing that he is ugly and not worthy of happiness. He is jealous of his handsome brother. Nikolenka's grandmother is told that the children were playing with gunpowder, although it was only lead shot. She is sure that Karl has grown old and is not looking after the children well, so she changes their tutor. It is difficult for children to part with their teacher. But Nikolenka doesn’t like the new French teacher. The boy allows himself to be insolent to him. For some unknown reason, Nikolenka tries to open her father’s briefcase with a key and in the process breaks the key. He thinks that everyone is against him, so he hits the tutor and quarrels with his father and brother. They lock him in a closet and promise to flog him. The boy feels very lonely and humiliated. When he is released, he asks his father for forgiveness. Nikolenka begins to convulse, which plunges everyone into shock. After sleeping for twelve hours, the boy feels better and is pleased that everyone is worried about him.

After some time, Nikolenka’s brother, Volodya, enters the university. Soon their grandmother dies, and the whole family grieves the loss. Nikolenka cannot understand people who fight over her grandmother’s inheritance. He also notices how his father has aged and concludes that with age people become calmer and softer.
When there are several months left before entering the university, Nikolenka begins to prepare intensively. He meets Dmitry Nekhlyudov, Volodya’s acquaintance from university, and they become friends.

Book three. "Youth"

The third part of the novel “Childhood, Adolescence, Youth” tells the story of the time when Nikolenka continues to prepare to enter the university at the Faculty of Mathematics. He is looking for his purpose in life. Soon the young man enters the university, and his father gives him a carriage with a coachman. Nikolenka feels like an adult and tries to light a pipe. He starts to feel nauseous. He tells Nekhlyudov about this incident, who in turn tells him about the dangers of smoking. But the young man wants to imitate Volodya and his friend Dubkov, who smoke, play cards and talk about their love affairs. Nikolenka goes to a restaurant where she drinks champagne. He has a conflict with Kolpikov. Nekhlyudov calms him down.

Nikolai decides to go to the village to visit his mother's grave. He remembers his childhood and thinks about the future. His father marries again, but Nikolai and Vladimir do not approve of his choice. Soon the father begins to get along poorly with his wife.

Studying at the University

While studying at the university, Nikolai meets many people whose meaning in life is only to have fun. Nekhlyudov tries to reason with Nikolai, but he succumbs to the opinion of the majority. Ultimately, Nikolai fails his exams, and Dmitry's consolation is regarded as an insult.

One evening Nikolai finds his notebook with rules for himself, in which he wrote a long time ago. He repents and cries, and later begins to write a new notebook for himself with rules by which he plans to live his whole life, without betraying his principles.

Conclusion

Today we talked about the content of the work written by Leo Tolstoy. “Childhood, adolescence, youth” - a novel with deep meaning. After reading it summary, each reader will be able to draw certain conclusions, despite not having read it in full. The novel “Childhood, Adolescence, Youth” teaches us not to isolate ourselves with our experiences, but to be able to sympathize and empathize with other people.