Story by A.P. Chekhov's "Ionych" tells the story of the tragic transformation of a person into an ordinary person. The work has a clear composition (it is divided into five parts), which helps to convey the gradual degradation of the main character - the zemstvo doctor Dmitry Ionych Startsev.

The second chapter of the story shows us the “beginning of the fall” of the hero. The author shows that Startsev's life is gradually immersed in the routine and emptiness of a provincial town. The young hero resists this as much as he can, so he is forced to spend all his time alone: ​​“More than a year passed in this way in labor and solitude.”

One of the few joys for Startsev, in his opinion, should have been communication with the “most educated and interesting” family in the city - the Turkins. After a long break, he resumes communication with them - like a doctor treating Vera Iosifovna for migraines.

Has anything changed in the life of this family? The author shows that no, their life was just as “shrouded” in routine as everyone else in the city of S.: Kitty played her “tedious exercises on the piano”, “Ivan Petrovich told something funny”... But changes took place in Startsev’s life: he became interested in Ekaterina Sergeevna.

The girl pretended not to notice the feelings of the young doctor. And really, why does she need them when Kotik is dreaming about the capital and the future of the great pianist? She condescendingly accepted Startsev’s advances - after all, any girl would like this, but she did not take them seriously.

Chekhov shows that the hero in many ways invented Kotika for himself, idealized her: “Even in the way the dress sat on her, he saw something unusually sweet, touching in its simplicity and naive grace. And at the same time, despite this naivety, she seemed to him very smart and developed beyond her years.”

Was Ekaterina Sergeevna really like this? Chekhov gives us a dialogue that clarifies the situation. Startsev asks Kotik about the last book she read. The girl answers: “Pisemsky. "A Thousand Souls" And what can she say about this work? Only that Pisemsky’s name was “very funny” - Alexey Feofilaktych!

And one more detail confirms that Ekaterina Sergeevna, rather, “seemed” than “was” - “... during a serious conversation, it happened that she suddenly inopportunely began to laugh or ran into the house.”

Also this time, Kotik ran away, leaving Startsev a goodbye note. In it, she made a date for the hero - at the cemetery, “at eleven in the evening,” “near the Demetti monument.”

This invitation caused a surge of various feelings and doubts in Dmitry Ionych, which mainly boiled down to one thing - “What will people think and say about this date and affair with Ekaterina Sergeevna in general?”

However, the thirst for love and new emotions temporarily drowns out the hero’s “voice of reason” and he goes to the cemetery. And here, in this place, far from the bustle of the world, Startsev experiences feelings unexpected for himself. For the first time in his life, he felt peace, peace, harmony, merging with everything around him: “... a world where the moonlight is so good and soft, as if his cradle is here, where there is no life, no and no, but in every dark poplar, in every grave one senses the presence of a secret that promises a quiet, beautiful, eternal life.”

But soon this state developed for the hero into another - into “a dull melancholy of nothingness, suppressed despair...” Perhaps what Startsev felt in the cemetery is a metaphor for his stay in the city of S., a reflection of his inner feelings with which he lived all this time? In the bustle of the day there was no time or opportunity to feel the “cry of the soul,” the despair of vegetation to which the life of the doctor Startsev was reduced. And this state manifested itself here - at night, in the cemetery.

But the hero’s thoughts were occupied with something else - he was waiting for Kitty, already imagining the upcoming date. Chekhov shows that his hero thirsted for love, that he was capable of experiencing passion, desire, strong emotions: “Startsev thought so, and at the same time he wanted to scream that he wanted that he was waiting for love at all costs.”

But this state did not last long. Unrealized, it sank into the depths of the hero’s soul, like “the moon went under the clouds.” Chekhov writes that “as if the curtain had fallen.” This phrase, like many others in the second part of the story, is symbolic. It marks a certain stage in Startsev’s life - his soul closed even more, degraded another step, brought the doctor Startsev a little closer to Ionych.

This is evidenced by the hero’s last thought, which ends the chapter: “Oh, there’s no need to gain weight!” The sharp transition from sublime thoughts to purely material, prosaic and even reduced physiological ones confirms Startsev’s moral degradation.

Thus, the second chapter of the story “Ionych” tells about a certain stage of the “fall” of Doctor Startsev. We see that, despite this person’s aspirations for strong emotions and a rich life, the “virus” of philistinism is already strong in him and, ultimately, will win.

This is very well clarified by the scene in the cemetery, where, with the help of subtle details, Chekhov shows that the destructive routine of life has already defeated the hero. We understand that now there is only one path awaiting him - the path down.

The second chapter of Pushkin’s novel “Eugene Onegin,” written in the genre of a novel in verse, begins with a description. Country with touching love for her. Further, Pushkin describes the master's house, which Pushkin called in the European manner, a castle. There is nothing superfluous or random in the works of the great Russian poet; every line contains a deep meaning. This can be seen by analyzing the second chapter of the novel. (By the way, you can read its summary).

For example, calling the master's estate a castle, the author wanted to emphasize the solidity and strength of the house in which Eugene settled. The description of the house characterizes its former owner. Having built the estate once, my uncle did not change anything about it for forty years. He ran his landowner’s household without any special innovations and “quarelled with the housekeeper for forty years.”

Next, Pushkin shows how Onegin lives on his uncle’s estate, his relationships with his neighbors. This is another dash to . At first, the neighbors tried to make friends with the young landowner from St. Petersburg. Someone cherished the dream of making him their son-in-law, someone was looking for communication with a new person, wanted to know St. Petersburg news and gossip. But “at first everyone went to him.” Only Onegin himself did not seek friendship with anyone, and as soon as he saw a wagon with another guest on the road, he literally fled on a stallion through the backyard.

True, it should be said here that having accepted the inheritance, he replaced the corvée with a light quitrent for the peasants. The more he alienated his neighbors. This action of his reflected the mood of the noble youth of that time, Onegin’s own desire for progress.

In the second chapter, Pushkin introduces another hero - who also arrived in his village almost at the same time as Onegin. Lensky is opposed to Onegin in everything. If Evgeny is a master of hypocrisy, then Lensky is honest and sincere with people. He expects the same from those around him, and therefore is naive and trusting, like a child. Onegin has cooled down and is bored with everything, Lensky looks at the world with wide eyes, in love with life, with the nature that surrounds him. His soul did not have time to become corrupted, like Onegin’s soul; he is devoid of skepticism, loves people and life itself.

Onegin’s education is homemade, his knowledge is scattered and has no logical system. Lensky is a graduate of the German University and has solid knowledge that he is ready to put into practice. In terms of character, mentality and ardor of soul, the image of Lensky is similar to Pushkin himself. In addition, he, like, writes poetry. But Pushkin also did not write Lensky from himself.

A visit to the graves of Dmitry Larin and his parents is another touch to Lensky’s portrait. This episode testifies to the subtlety and spiritual sensitivity of the young poet.

Lensky, like Onegin, was an eligible bachelor in the Russian outback, and although the neighbors’ conversations about haymaking, wine, the kennel, and his relatives did not arouse interest in Lensky, he did not avoid communicating with them. Lensky learned about Onegin from his neighbors and wanted to meet him.

The young landowners began to meet often. attracted them to each other, they were interested together. While riding horses, Onegin and Lensky argued on economic and political topics, discussed issues of science, religion, and talked about poetry.

An analysis of Chapter 2 of Pushkin’s novel “Eugene Onegin” shows that it is built on opposites. Onegin is contrasted with Lensky. In the same chapter, Pushkin introduces the reader to the girl Lensky loves. The simple-minded and sociable Olga is contrasted with her older sister - wild, silent. The sad and thoughtful girl is the antipode of her younger sister - lively and energetic.

The love of Lensky and Olga was largely instilled in them by their parents and public opinion. Olga and Vladimir grew up together. Probably, the parents were friendly with each other, and often visited each other with their children. Parents dreamed of getting their children married. These conversations inspired the obedient children with a feeling of affection, which they mistook for love. Olga had no other objects of adoration. But she was able to easily get carried away by someone else if a new attractive face appeared in her horizon. And Lensky, who, like Tatyana, grew up on novels, was a dreamy person, and mistook the desire to love and be loved for love.

Tatyana loved to read novels and was a dreamy, mystical person. Even Onegin, after meeting his sisters, remarked to Lensky that the dreamy and thoughtful Tatyana was more suitable for the poetic soul of his young friend. And Olga is sweet, charming, and looks like a doll. Her beauty can quickly get boring, just as the author got tired of it.

So why not Tatyana, but Olga became the love of Vladimir Lensky? The answer lies in these lines: “and children’s pranks were alien to her.” When guests with children arrived, she preferred to retire to her room or somewhere in the garden. And knowing Tatyana’s tendency to be alone, her kind parents did not bother her, leaving her to her own devices.

In the huge and pure mirror of A. S. Pushkin’s novel “Eugene Onegin,” readers recognized modernity, recognized themselves and their friends, the entire environment. They heard the lively, conversational, intermittent, sincere and therefore doubly seductive speech of the best of his contemporaries. All the characteristics of the images were not random, not taken from nowhere, from just imagination. They represented a cross-section of an era.

Therefore, it is interesting to consider not only the images of the main characters of the novel, but also the secondary ones, who are described no less truthfully and picturesquely.

Thus, the poet devotes part of the second chapter (from 6 to 12) to characterizing the image of Lensky. He aptly notices special, distinctive features in the hero. But we are interested in three stanzas - 10-12, in which Lensky’s characterization is the most laconic and specific.

But before turning to the analysis of these stanzas, it should be noted that in the initial drafts of the poem Lensky is presented as “a loudmouth, a rebel and a poet.” He brought from the German university not only “freedom-loving dreams,” but also “indignation, regret” and even a “thirst for revenge.”

Thus, at first Lensky seemed more significant to Pushkin, closer to himself: he was a future Decembrist. In the final formation of the image, the poet abandoned these features, and in the luggage of the Russian youth who returned from abroad, only vague “freedom-loving dreams” and “always enthusiastic speech and shoulder-length black curls” were preserved.

Pushkin made Lensky simpler, an ordinary representative of the noble youth. Vladimir is so gentle and inexperienced, and one might say pure in his aspirations, that he does not see the difference between his own fiction and reality:

He sang love, obedient to love,

And his song was clear,

Like the thoughts of a simple-minded maiden,

Like a baby's dream...

This is what the author says about his hero, meaning that Lensky wrote poetry. So on the night before the duel, he will write his last poems to Olga, while Onegin was fast asleep... This detail - practicing poetry - is apparently very important for Pushkin. This is one of those features that should have made the hero related to the author. She emphasized not only Lensky’s romanticism, but also his ability to feel deeply and sincerely (it is no coincidence that the metaphorical comparison “like a baby’s sleep” is used here).

He sang separation and sadness,

And something, and a foggy distance...

He sang the faded color of life

Almost eighteen years old.

These lines convey irony about the hero’s creativity. Pushkin, as a true master of words, tries to emphasize the typicality of Lensky's feelings. After all, all poets at the age of eighteen write about the withering of life and feelings. Although their life is just beginning, and what “sunset” is, they still don’t actually understand.

Lords of neighboring villages

He didn't like feasts;

He ran away from their noisy conversation.

Their conversation is reasonable...

In the desert, where Eugene is alone

I could appreciate his gifts...

What follows is a very condensed portrait of the hero, as his neighbor-landowners imagined him: “Rich, good-looking Lensky // Was received as a groom everywhere...” Moreover, the phrase “good-looking” most likely refers not to the portrait of the hero, but to his ability to perform groom for the landowner's daughter:.

All daughters were destined for their own

For the half-Russian neighbor...

In general, the appearance of Lensky on the pages of the novel, and the fact that he became Evgeniy’s friend, is an important device. With the help of Vladimir, his open outlook on life, all images become brighter and more dramatic. He is like a child through whose lips the truth speaks.

The idea for the poem “Cloud in Pants” (originally titled “The Thirteenth Apostle”) arose from Mayakovsky in 1914. The poet fell in love with a certain Maria Alexandrovna, a seventeen-year-old beauty, who captivated him not only with her appearance, but also with her intellectual aspiration for everything new, revolutionary. But love turned out to be unhappy. Mayakovsky embodied the bitterness of his experiences in poetry. The poem was completely completed in the summer of 1915. Po-et was not only the author, but also her lyrical hero. The work consisted of an introduction and four parts. Each of them had a certain, so to speak, private idea.
“Down with your love”, “Down with your art”, “Down with your system”, “Down with your religion” - “four cries of four parts” - this is how the essence of these ideas is very correctly and accurately defined by the author himself in the preface to the second edition poems.
At the beginning of the second chapter, the author defines his positions:
Praise me!
In the following lines we detect a certain “nihilism”:
I'm above everything that's done
I bet: “nihil” (nothing).
Everything is denied and destroyed, everything is rebuilt and remade in a new way. The denial continues:
I never want to read anything.
And then - the knowledge of life:
But it turns out -
Before it starts to sing,
They walk for a long time, calloused from fermentation...
Next, the author is in the thick of the crowd:
The street silently poured flour...
And again - returning to a personal topic, the poet sets out his life principles.
In the second chapter, Mayakovsky expresses his protest openly, loudly and boldly. With exceptional clarity and inspiration, it expresses the hero’s determination when, addressing the “thousands of street people” who follow the poets “soaked in crying and sobbing,” he says:
Gentlemen!
Stop!
You are not beggars
You don't dare ask for handouts!
…
To us, the healthy ones,
With a fathom step,
We must not listen, but tear them apart -
Their,
Sucked by a free application
For every double bed!
The poet addressed the working people with a solemn sermon, speaking about their greatness and power:
We
With a face like a sleepy sheet,
With lips hanging like a chandelier
We,
Convicts of the leper colony city,
Where gold and dirt showed leprosy, -
We are purer than the Venetian blue sky,
Washed by the seas and suns at once.
…
I know,
The sun would fade if it saw
Our souls are golden scattered!
Listening carefully to the pulse of life, knowing that the feelings he expressed would not today or tomorrow become the self-consciousness of millions, the poet, through the lips of his lyrical hero, proclaimed:
I,
Laughed at by today's tribe,
How long
A dirty joke
I see time passing through the mountains,
Which no one sees.
…
In the crown of thorns of revolutions
The sixteenth year is coming.
And I am your forerunner...
Mayakovsky recognizes himself as the singer of humanity, oppressed by the existing system, which rises to fight. He calls himself “the scream-lipped Zarathustra.” The poet speaks like a prophet on behalf of people oppressed by the city and the trade of stupid, meaningless labor. He ridicules the sweet, chirping poets who “boil,” “sniff,” rhymes, while the writhing street “has nothing to shout or talk about.” With the sharp edges of hot lines, like bayonets, he storms the entire old order of life.
Mayakovsky speaks loudly and soulfully on behalf of those who hold the “natural belts of the world” in their five. Great love for a person is in every line of the second chapter. Not a single calmly spoken, not a single indifferent phrase. Mayakovsky's verse turned out to be powerful enough to convey the movement of worlds, to capture the subtlest movements of the heart and the dull silence of the Universe.
The second chapter is full of thought, fire, contempt, pain and anticipation of the future.
This foresight of the poet shortens the waiting period by a year. It seems to him that a revolution will break out already in 1916.
As for the artistic features of the second chapter of the poem “Cloud in Pants,” they are presented here very widely. The unusual thing about Mayakovsky’s poetry is that it is very active, and it is simply impossible not to perceive it in any way. We can say that his poems are poems of rallies and slogans. And in the second chapter we find examples of this: “Glorify me!”, “Lords! Stop! You are not beggars, you don’t dare ask for handouts!”
Mayakovsky's innovations are diverse. He completely changes established stereotypes in working on words and speech patterns. For example, the author takes a word and “refreshes” its primary meaning, creating a bright, detailed metaphor based on it. The result of this was such images as “bony cabs”, “plump taxis”.
The world of metaphors simply amazes with its imagination and diversity: “a scattering of souls”, “the eye is cut off”, “I will pull out the soul, trample”, “I burned out the souls...”. The comparisons are striking in their imagery: “a face like a washed-out sheet,” “with lips drooping like a chandelier,” and the poet compares himself to “an obscene anecdote.”
By introducing neologisms, Mayakovsky achieves a memorable figurative characterization of phenomena and events: “unfreeze”, “boil out”, “pedestrian”.
The poet deals with vocabulary in an unusually creative way: he “sifts”, “mixes” words, combining them in the most contrasting combinations. In the poem we will find combinations of “high” and “low” styles. “in the choirs of the Archangel’s choir”, “let’s go eat”, “Faust”, “nail”, “Venetian blue sky”, “hungry hordes”. And sometimes there are deliberately rude, “reduced” images: “coughed up”, “bastard”...
In the second chapter of the poem we will find phrases-images, when literally behind one line there is a whole world, reproduced with amazing accuracy and versatility. For example, this is an image of a city:
Puffing up, stuck across the throat,
Plump taxis and bony cabs..
The rhythmic pattern of the second chapter is unique and very dynamic. Mayakovsky transforms and freely combines traditional poetic meters (iamb, trochee, anapest, etc.) with tonic verse, characteristic of folk poetry, creating a flexible, mobile structure of the verse.
And when -
Still!
coughed up a stampede into the square,
Pushing aside the porch that had stepped on my throat...
The rhythmic diversity and variation of a verse is not an end in itself, but a means of expressing the multifaceted content of the poem.
The features of the rhythmic structure of Mayakovsky’s verse include the complex movement of rhythm, the breakdown of the poetic line, and his famous “ladder”:
Listen!
Preaches
Thrashing and groaning,
Today's scream-lipped Zarasthustra.
There is one known recollection of Mayakovsky’s comrade V. Kamensky. He wrote: “The success of the poem “Cloud in Pants” was so enormous that from that moment he immediately rose to the heights of brilliant mastery. Even the enemies looked at this height with awe and amazement.” I believe that this statement fully reflects the essence of this work, because Mayakovsky, imbued with a premonition of the coming revolution, spoke on behalf of enslaved humanity.

Essay on literature on the topic: Analysis of chapter 2 of V. V. Mayakovsky’s poem “A Cloud in Pants”

Other writings:

1. Analysis of the first chapter of V.V. Mayakovsky’s poem “A Cloud in Pants.” “Do you think this is malaria raving?” V. Mayakovsky is one of the best poets of the early twentieth century, a century of profound social changes. The poem “Cloud in Pants” was completed by July 1915. There is a poet in it Read More......
2. Vladimir Mayakovsky opened an entire era in the history of Russian and world poetry. His work captured the emergence of a new world, born in the most brutal class battles. The poet acted as an innovative artist who reformed Russian verse and updated the means of poetic language. Mayakovsky's poetic conquests determined the main direction Read More......
3. Young Vladimir Mayakovsky came to Russian poetry suffering and alone. And from the very first appearance in print and on the stage, the role of a literary hooligan was imposed on him, and in order not to sink into obscurity, he supported this reputation with daring antics at the evenings. Criticism Read More......
4. The poem “Cloud in Pants” was completed by July 1915. At the same time, Mayakovsky met Lilya Brik, to whom he read the poem in its entirety, and immediately asked permission to dedicate his work to her. This is how the name (“To you, Lilya”) appeared on the title of the poem. Read More ......
5. Among everything that Mayakovsky created during the five years of his pre-October poetic career, a special place belongs to the poem “A Cloud in Pants,” written in 1914-1915. Every word of the work is a daring challenge to reality, a subversion of the social, moral and aesthetic foundations of the bourgeois system and a call for Read More ......
6. Mayakovsky’s poetry is active: “Glorify me!”, “Gentlemen! Stop! You are not beggars, you don’t dare ask for handouts!” He completely changes the established stereotypes in working on the word, updating the established meaning of the word: “bony cabs”, “plump taxis”. The poet handles vocabulary creatively: he “sifts”, Read More ......
7. The love conflict in the poem is unusual. The lyrical hero waits for Maria for several hours, this brings him to such a state that he feels like a “wiry hulk” whose “heart is a cold piece of iron”, but who wants to have a “darling”. Nerves to the limit. The lines sound tragic: Read More......
8. Reading this poem, one can vividly imagine Mayakovsky walking along the shore of the bay and stamping the lines “Clouds in pants” on the sandy beach in Kuokkala to the rhythm of his powerful steps. Traces of huge boots remain on the wet sand, and immortal poems are born in the poet’s mind. Read More......

Chapter 2 of the novel "Eugene Onegin". Analysis of stanzas 20-22.

In the second chapter of the novel, Eugene Onegin exchanges the passions of high society for rural peace. He comes to his estate in the hope of finding new sensations and somehow diversifying his life. Here he is shy of his neighbors and avoids communicating with them. And only with the young poet Vladimir Lensky does our hero develop a good relationship.

Pushkin pays special attention to the image of Lensky in his work. Firstly, because Lensky is also a poet. The author, like no one else, understands the subtle impulses of the young poet’s soul. But Pushkin’s attitude towards Vladimir Lensky is not so clear. Recognizing all his positive traits, the traits of a young romantic idealist, the poet does not see a future for such a character. Lensky dies at the hands of Onegin, thereby marking the beginning of dramatic changes in the fate of the protagonist.

In stanzas 20-22 of the second chapter of Eugene Onegin, Lensky’s love for Olga Larina is described. She is surrounded by a romantic halo: a halo of melancholy, tears, light sadness, suffering:

Always, everywhere one dream,

One common desire

One familiar sadness.

Pushkin values ​​in his hero the ability to love sincerely and strongly, which is rare at all times:

Oh, he loved like in our summer

They no longer love; as one

The Mad Soul of the Poet

Still condemned to love...

In stanza 21, the author tells us that Lensky knew Olga from early childhood. They were neighbors, and their parents planned a wedding for them. Also in stanza 21 an ironic description of little Olga is given. His style traces Pushkin’s dispute with the romantic poets:

In the wilderness, under a humble canopy,

Full of innocent charm

In the eyes of her parents, she

Bloomed like a secret lily of the valley,

In stanza 22 we see the emergence of the young poet’s love for the image of Olga he invented:

She gave the poet

Young delights first dream...

Lensky filled Olga with the traits that he wanted to see in his beloved. Unfortunately, the dream was at odds with reality. The reader will understand this later, after the poet’s death. In the meantime, Vladimir is completely absorbed in his love:

He fell in love with dense groves,

Solitude, silence,

And the night, and the stars, and the moon...

Olga became Lensky's muse.

Giving a description of the young poet’s preoccupation with his feelings, Pushkin ironizes his isolation from reality, his eternal head in the clouds, his ignorance of real life:

The moon, the heavenly lamp,

To which we dedicated

Walking in the evening darkness

And tears, secret torments will be a joy...

But now we see only in her

Replacing dim lights.

Thus, in stanzas 20-22 of the second chapter of “Eugene Onegin” a description of the love of Vladimir Lensky, a young romantic poet, is given. Through this description, the most significant traits of his character, both positive and negative, are revealed to us. It is important to note that in these stanzas the author’s attitude towards his hero is given, which can be characterized as sympathetic and ironic.