1.3. The theme of love in the story "Asya".

So, the story of I.S. Turgenev's "Asya" touches on love and psychological issues that concern readers. The work will also allow you to talk about such important moral values ​​as honesty, decency, responsibility for your actions, about the purpose and meaning of life, about choosing a life path, about the formation of personality, about the relationship between man and nature.

In Turgenev's story "Asya", the writer expresses his moral quest. The whole work is surprisingly clean and light, and the reader is involuntarily imbued with its magnificence. The town itself 3 is shown surprisingly beautiful, there is a festive atmosphere in it, the Rhine seems silvery-gold. Turgenev creates a surprisingly bright, rich color in his story. What a magnificent abundance of colors is presented in the story - "the air shining with purple", "the girl Asya, bathed in a sunbeam."

The story inspires optimism and joyful hope. But the denouement turns out to be surprisingly harsh. In love with each other, Mr. N. N. and Asya are young, free, but, as it turned out, fate cannot unite them. Asya's fate is very complex, and in many ways the reason for this is her origin. Also, the girl's character cannot be called ordinary, she is certainly a very strong personality. And at the same time, Asya is a rather strange girl.

Love for a strange but very attractive girl scares the young man a little. In addition, Asya's “false” position in society, her upbringing and education also seem too unusual to him. The experiences of the characters in the story are shown very truthfully and vividly: “The inevitability of a quick, almost instantaneous decision tormented me ... I had to ... fulfill a difficult duty ... the thought that I was an immoral deceiver ... was ringing in my head. .. "The young man seeks to take control of his emotions, although he does it badly enough. Something unimaginable is happening in Asya's soul. Love turns out to be a real shock for her, overtakes her like a thunderstorm.

Turgenev shows the feeling of love in all its beauty and strength, and his human feeling seems like a natural element. He says about love: "It does not develop gradually, you cannot doubt it." Indeed, love turns the whole life upside down. And the person does not find the strength to fight it.

As a result of all the doubts and mental anguish, Asya is forever lost to the main character. It was only then that he realized how strong the feeling of love he felt for this strange girl was. But, alas, it's too late, "happiness has no tomorrow ...".

2. "Noble nest".

2.1. Acquaintance with the characters.

Turgenev acquaints the reader with the main characters of the "Noble Nest" and describes in detail the inhabitants and guests of the house of Marya Dmitrievna Kalitina, the widow of the provincial prosecutor, living in the city of O ... with two daughters, the eldest of whom, Liza, is nineteen years old. More often than others, Marya Dmitrievna has a St. Petersburg official, Vladimir Nikolaevich Panshin, who ended up in a provincial city out of a state need. Panshin is young, dexterous, moves up the career ladder with incredible speed, while he sings, draws and looks after Liza Kalitina 7.

The appearance of the main character of the novel by Fyodor Ivanovich Lavretsky, who is distantly related to Marya Dmitrievna, is preceded by a brief background. Lavretsky is a deceived husband, he is forced to leave his wife because of her immoral behavior. His wife remains in Paris, Lavretsky returns to Russia, ends up in the Kalitins' house and imperceptibly falls in love with Lisa.

Dostoevsky in "The Noble Nest" pays great attention to the theme of love, because this feeling helps to highlight all the best qualities of the heroes, to see the main thing in their characters, to understand their soul. Love is portrayed by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, like in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of the heroes.

The love of Lavretsky and Liza Kalitina does not manifest itself immediately, she approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with her irresistible force. Lavretsky, who experienced a lot in his life: hobbies, disappointments, and the loss of all life goals, at first simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna, the hypocritical, depraved wife of Lavretsky, does not have who abandoned him. Lisa is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, - and the consciousness of this closeness is immediately expressed in their looks, in their friendly and quiet smiles, in themselves their movements ”8. This is exactly what happened to Lavretsky and Liza.

They talk a lot and understand that they have a lot in common. Lavretsky takes life seriously, to other people, to Russia, Liza is also a deep and strong girl with her own ideals and beliefs. According to Lemma, Lisa's music teacher, she is "a fair, serious girl with high feelings." Liza is looked after by a young man, a capital official with a wonderful future. Lisa's mother would be happy to give her in marriage to him, she considers it a wonderful party for Lisa. But Liza cannot love him, she feels false in his attitude towards her, Panshin is a superficial person, he appreciates the external brilliance in people, and not the depth of feelings. Further events in the novel confirm this opinion about Panshin.

From a French newspaper, he learns about the death of his wife, this gives him hope for happiness. The first climax comes - Lavretsky confesses his love to Lisa in the night garden and learns that he is loved. However, the next day after the confession, his wife, Varvara Pavlovna, returned from Paris to Lavretsky. The news of her death turned out to be false. This second culmination of the novel, as it were, opposes the first: the first gives the heroes hope, the second takes it away. There comes a denouement - Varvara Pavlovna settles in the family estate of Lavretsky, Liza leaves for a monastery, Lavretsky is left with nothing.

2.2. ImageTurgenev's girl Lisa.

A special type of Russian religiosity, brought up in her by a nanny, a simple peasant woman, is manifested in Lisa's appearance. This is a "penitential" version of Christianity, its supporters are convinced that the path to Christ lies through repentance, through crying about their own sins, through a rigid rejection of earthly joys. The harsh spirit of the Old Believers invisibly blows here. No wonder about Agafya, Liza's mentor, they said that she had retired to a schismatic hermitage. Lisa follows in her footsteps, goes to the monastery. Falling in love with Lavretsky, she is afraid to believe in her own happiness. "I love you," says Lavretsky to Lisa, "I am ready to give you my whole life." How does Lisa react?

“She shuddered again, as if something had stung her, and raised her eyes to the sky.

It's all in God's power, ”she said.

But do you love me, Lisa? We'll be happy?

She dropped her eyes; he quietly drew her to him, and her head fell on his shoulder ... "

Downcast eyes, head on shoulder - this is both the answer and the doubts. The conversation ends with a question mark, Liza cannot promise Lavretsky this happiness, because she herself does not fully believe in his possibility.

The arrival of Lavretsky's wife is a disaster, but also a relief for Lisa. Life again enters into the limits Lisa understands, is placed within the framework of religious axioms. And Liza perceives the return of Varvara Pavlovna as a well-deserved punishment for her own frivolity, for the fact that her former greatest love, love for God (she loved Him "enthusiastically, timidly, tenderly") began to be supplanted by love for Lavretsky. Liza returns to her "cell", a "clean, bright" room "with a white bed", returns to where she left for a while. The last time in the novel we see Lisa right here, in this closed, albeit bright space.

The next appearance of the heroine is taken outside the scope of the novel, in the epilogue Turgenev reports that Lavretsky visited her in the monastery, but this is no longer Liza, but only her shadow: “Moving from kliros to kliros, she walked close by him, walked smoothly, the haste, humble gait of a nun - and did not look at him; only the eyelashes of the eye turned to him trembled slightly, only she tilted her emaciated face even lower ... ”9.

A similar turning point is taking place in the life of Lavretsky. After parting with Lisa, he stops thinking about his own happiness, becomes a good owner and devotes his efforts to improving the life of the peasants. He is the last of the Lavretsky family, and his "nest" is emptying. The Kalitins' nest of nobility, on the other hand, was not ruined thanks to the other two children of Marya Dmitrievna - her eldest son and Lenochka. But neither one nor the other is of fundamental importance, the world is still becoming different, and in this changed world, the “noble nest” no longer possesses exceptional value, its former, almost sacred status.

Both Liza and Lavretsky act differently from the people of their "nest", of their circle. The circle fell apart. Liza went to a monastery, Lavretsky learned to plow the land. Girls of noble rank went to the monastery in exceptional cases, the monasteries were replenished at the expense of the lower classes, just as the master did not have to plow the land and work "not for himself." It is impossible to imagine Lavretsky's father, grandfather, or great-grandfather behind the plow - but Fyodor Ivanovich lives in a different era. There comes a time of personal responsibility, responsibility for oneself, a time of life that is not rooted in the tradition and history of one's own kind, a time when it is necessary to "do business." At the age of forty-five, the Lavretsky feels like a deep old man, not only because in the 19th century there were different ideas about age, but also because the Lavretsky had to leave the historical stage forever.

For all the sobriety of Turgenev's realism, for all its critical orientation, The Noble Nest is a very poetic work. The lyrical beginning is present in the depiction of the most diverse phenomena of life - in the story of the fate of the long-suffering serf women Malasha and Agafia, in the descriptions of nature, in the very tone of the narrative. The image of Liza Kalitina, her relationship with Lavretsky is fanned with high poetry. In the spiritual elevation and integrity of this girl's appearance, in her understanding of the sense of duty, there is much in common with Pushkin's Tatyana.

The image of the love of Liza Kalitina and Lavretsky is distinguished by special emotional strength, striking in its subtlety and purity. For the lonely, aging Lavretsky, who many years later visited the estate with which his best memories were associated, “spring again blew from the sky with radiant happiness; again she smiled at the earth and at the people; again, under her caress, everything blossomed, fell in love and sang. " Turgenev's contemporaries admired his gift of fusing sober prose with the charm of poetry, the severity of realism with a flight of fantasy. The writer achieves a high poetry that can only be compared with the classical examples of Pushkin's lyrics.

3. Love in the novel by I.S. Turgenev "Fathers and Sons".

3.1. The love story of Pavel Kirsanov.

At the beginning of Fathers and Sons, Turgenev introduces his hero to us as a nihilist, a man “who does not bow before any authorities, who does not accept a single principle on faith”, for whom romanticism is nonsense and whim: “Bazarov only recognizes what you can touch with your hands, see with your eyes, put on your tongue, in a word, only what can be witnessed by one of the five senses. " Therefore, he considers mental suffering unworthy of a real man, high aspirations - far-fetched and ridiculous. Thus, "... aversion to everything detached from life and disappearing in sounds is the root property" of Bazarov.

In the novel we see four couples, four love stories: these are the love of Nikolai Kirsanov and Fenechka, Pavel Kirsanov and Princess G., Arkady and Katya, Bazarov and Odintsova. The love of Nikolai Kirsanov and his son Turgenev could not interest, since this love is ordinary dry, homely. She lacks the passion that was inherent in Turgenev himself. Therefore, we will consider and compare two love stories: this is the love of Pavel Kirsanov and the love of Bazarov 11.

Pavel Petrovich Kirsanov was brought up first at home, then in the building. He was different from childhood, was self-confident and somehow funny acrimonious - he could not like him. He began to appear everywhere as soon as he became an officer. Women went crazy with him, men called him dandy and secretly envied him. Pavel Petrovich met her at a ball, danced a mazurka with her and fell passionately in love with her. Accustomed to victories, he quickly achieved what he wanted here, but the ease of triumph did not cool him down. On the contrary, he fell in love even more. Subsequently, Princess G. fell out of love with Pavel Kirsanov and went abroad. He retired and followed her, he almost lost his mind. He traveled for a long time abroad for her. Love arose again, but evaporated even faster than the first time. Pavel returned to Russia, but could not live a strong life, he wasted for 10 years, Nikolai's wife died, Princess G. Died in a state close to insanity. Then she returns him the ring, where the sphinx is crossed out, and wrote that this is the answer. After a year and a half, he moved to live in Maryino.

The heroine of the novel Fenechka attracts Bazarov in the same way as the Kirsanov brothers - youth, purity, spontaneity.

“It was a young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childishly plump lips and delicate hands. She was wearing a neat chintz dress; the blue new kerchief lay lightly on her round shoulders ”12.

It should be noted that Fenechka appeared before Arkady and Bazarov not on the first day of their arrival. On that day, she said she was sick, although, of course, she was healthy. The reason is very simple: she was terribly shy. The duality of her position is obvious: the peasant woman, whom the master allowed to live in the house, and he himself was ashamed of it. Nikolai Petrovich did a seemingly noble deed. He settled in a woman who gave birth to a child from him, that is, as it were, he recognized her certain rights and did not hide the fact that Mitya was his son.

But at the same time he behaved in such a way that Fenechka could not feel free and coped with her position only thanks to her natural naturalness and dignity. This is how Nikolai Petrovich tells Arkady about her: “Don't call her, please, loudly ... Well, yes ... she now lives with me. I put her in the house ... there were two small rooms. However, all this can be changed. " He did not mention his little son at all - he was so embarrassed. But then Fenechka appeared before the guests: “She lowered her eyes and stopped at the table, leaning slightly on the very tips of her fingers. It seemed that she was ashamed that she had come, and at the same time she seemed to feel that she had the right to come. " It seems that Turgenev sympathizes with Fenichka and admires her. He seems to want to protect her and show that in her motherhood she is not only beautiful, but also above all speculation and prejudice: “Indeed, is there anything in the world more captivating than a young beautiful mother with a healthy child in her arms? " Bazarov, living with the Kirsanovs, only communicated with pleasure with Fenechka: "Even his face changed when he talked to her: it took on a clear, almost kind expression, and some kind of playful attentiveness was mixed with his usual negligence." I think the point here is not only in Fenichka's beauty, but in her naturalness, in the absence of any pretense or attempts to pretend to be a lady. Fenichka's image is like a delicate flower, which, however, has unusually strong roots.

Nikolai Petrovich innocently loves the mother of his child and his future wife. This love is simple, naive, pure, like Fenichka herself, who simply reverences him. Pavel Petrovich hides his feelings for the sake of his brother. He himself does not understand what attracted him to Fedosya Nikolaevna. Delirious, the elder Kirsanov exclaims: "Oh, how I love this empty creature!"

3.1. Evgeny Bazarov and Anna Odintsova: the tragedy of love.

The most vivid love story happened in the novel with Yevgeny Bazarov. He is an ardent nihilist who denies everything, including love, - he himself falls into the net of passion. In the society of Madame Odintsova, he is harsh, mocking, and when alone with himself he discovers a romantic in himself. His own feelings irritate him. And when they finally pour out, they only bring suffering. The chosen one rejected Bazarov, frightened by his animal passion and lack of culture of feelings. Turgenev teaches a cruel lesson to his hero.

Turgenev created the image of Anna Sergeevna Odintsova, a young beautiful widow and a wealthy aristocrat, an idle, cold, but intelligent and curious woman. For a moment she was carried away by Bazarov as a strong and original person, such as she had never met. The observant Nabokov correctly remarked about Madame Odintsova: "Through her rough appearance she manages to discern Bazarov's charm." She is interested in him, asks about his main goal: "Where are you going?" This is precisely female curiosity, not love.

Bazarov, a proud and self-confident commoner, who laughed at love as a romanticism unworthy of a man and a fighter, experiences inner excitement and embarrassment in front of a self-confident beauty, confused and, finally, passionately falls in love with the aristocrat Odintsova. Listen to the words of his forced confession: "I love you stupidly, madly."

A cultured nobleman who knew how to appreciate the beauty of a sublime love feeling would never have said so, and here the sad knight of unhappy love Pavel Kirsanov is higher and nobler than Bazarov, who is ashamed of his love. Romanticism returned and proved its strength once again. Bazarov now admits that man is a mystery, his self-confidence has been shaken.

First, Bazarov drives away this romantic feeling, hiding behind rude cynicism. In a conversation with Arkady, he asks about Madame Odintsova: “What is this figure? She doesn’t look like other women ”. From the statement it is clear that she interested Bazarov, but he tries in every possible way to discredit her in his eyes, comparing her with Kukshina, a vulgar person.
Odintsova invites both friends to visit her, they agree. Bazarov notices that Arkady likes Anna Sergeevna, but we try to be indifferent. He behaves very casually in her presence, then he gets embarrassed, blushes, and Odintsova notices this. During his entire stay at a party, Arkady is surprised at Bazarov's unnatural behavior, because he does not speak with Anna Sergeevna “about his beliefs and views,” but talks about medicine, botany, etc. 13.

On the second visit to Odintsova's estate, Bazarov is very worried, but tries to restrain himself. He understands more and more that he has some kind of feeling for Anna Sergeevna, but this does not coincide with his convictions, because love for him is “rubbish, unforgivable nonsense,” a disease. Doubts and anger rage in Bazarov's soul, the feeling for Madame Odintsova torments and infuriates him, but nevertheless he dreams of reciprocal love. The hero indignantly recognizes the romance in himself. Anna Sergeevna tries to challenge him to a conversation about feelings, and he speaks about everything romantic with even greater contempt and indifference.

Before leaving, Odintsova invites Bazarov to her room, says that she has no purpose and meaning in life, and cunningly pulls recognition out of him. The main character says that he loves her “stupidly, madly”, from his appearance it is clear that he is ready to do anything for her and is not afraid of anything. But for Madame Odintsova, this is just a game, she likes Bazarov, but she does not like him. The main character in a hurry leaves the estate of Odintsova and goes to his parents. There, while helping his father in medical research, Bazarov contracted a serious illness. Realizing that he will soon die, he discards all doubts and beliefs and sends for Madame Odintsova. Before his death, Bazarov forgives Anna Sergeevna and asks to take care of his parents.

His dying farewell to Madame Odintsova, Bazarov's confession is one of the most powerful in Turgenev's novel.

So, in the life of the Kirsanov brothers, and in the life of the nihilist Bazarov, love plays a tragic role. And yet, the strength and depth of Bazarov's feelings do not disappear without a trace. In the finale of the novel, Turgenev draws the grave of the hero and "two already decrepit old men", Bazarov's parents, who come to her. But this is also love! "Isn't love, holy, devoted love, omnipotent?"

Conclusion

Ivan Turgenev's novel "The Noble Nest" is distinguished by its simplicity of plot and, at the same time, by its deep development of characters.

Lavretsky and Panshin, Lavretsky and Mikhalevich. But along with this, the novel received coverage of the problem of the collision of love and duty. It is revealed through the relationship between Lavretsky and Lisa.

The image of Liza Kalitina is a huge achievement for Turgenev. She has a natural mind, a subtle feeling. This is the embodiment of purity and benevolence. Liza is demanding of herself, she is used to keeping herself in strictness. Marfa Timofeevna calls her room "a cell" - to such an extent it resembles a monastery cell.

Raised from childhood in religious traditions, Lisa deeply believes in God. She is attracted by the requirements of religion: justice, love for people, willingness to suffer for others. She is characterized by cordiality, love of beauty. Lisa is a true patriot. Her soul is full of love - not only for the people around her, but also for the common people, with whom she is inextricably linked.

Liza Kapitina unites in herself everything that the author dreams of for his heroines: modesty, spiritual beauty, the ability to deeply feel and experience, and most importantly, the ability to love, to love selflessly and infinitely, without fear of self-sacrifice. This is what we see in the image of Lisa. She "leaves" Lavretsky, having learned that his lawful wife is still alive. She does not allow herself to say a word to him in church, where he came to see her. And even eight years later, when meeting in a monastery, she walks by: “Moving from kliros to kliros, she walked close by him, walked with the smooth, haste-humble gait of a nun - and did not look at him; only the eyelashes of her eyes turned to him a little trembled, only she bent her emaciated face even lower - and the fingers of her clenched hands, intertwined with rosary beads, pressed even closer to each other. "

Not a word, not a look. And why? The past cannot be returned, but there is no future, so why disturb old wounds?

In this novel, again, the firmness of her character and the power of love are manifested: not to cause suffering to a loved one, even with a half hint of the past.

In Asa, you can see a lot in common with Lisa from the "Noble Nest". Both girls are morally pure, truth-loving, capable of strong passions. According to Turgenev, he wrote the story "very hotly, almost with tears."

Asya is the embodiment of youth, health, beauty, proud nature, straightforward. Nothing hinders her love, except for doubts about what she can be loved for. In the story, the author's thoughts about the fate of his daughter, about his unhappy love. Zinaida Zasekina is one of the most controversial female types created by Turgenev 15.

Asya is one of the most poetic female images of Turgenev. The heroine of the story is an open, proud, ardent girl, striking at first sight with her unusual appearance, spontaneity and nobility. The tragedy of Asya's life lies in her origin: she is the daughter of a peasant serf and landowner. This explains her behavior: she is shy, does not know how to behave in society. After the death of her father, the girl is left to herself, she early begins to think about the contradictions of life, over everything that surrounds her. Asya is close to other female characters in the works of Turgenev. With them she is related by moral purity, sincerity, the ability to strong passions, the dream of a heroic deed.

Asya is given in the story through the perception of Mr. N.N., on whose behalf the narration is being conducted. N.N. meets her during a trip to Germany, where Asya lives with her brother. Her peculiar charm awakens love in him. Asya herself is faced with such a feeling for the first time in her life. N.N. seems to her an extraordinary person, a real hero. Love inspires the heroine, gives her new strength, instills faith in life, but her chosen one turns out to be a weak-willed and indecisive person, he cannot adequately respond to her ardent feelings. Asya's determination scares him, and N.N. leaves her. The heroine's first love turns out to be unhappy.

Fathers and Sons reveals the demarcation of the main social forces, the uniqueness of the conflicts in the spiritual life of the troubling time of the late 1950s and early 1960s.

In Turgenev's novel, Fenechka can be called the image of "gentle tradition", "female ordinariness". Affectionate and quiet, she runs the house, coddles the child, she is not worried about the problem of being, issues of world significance. Since childhood, she saw her happiness in her family and home, her husband and child. Her peace and, again, happiness are near her, next to her family hearth. She is beautiful in her own way, able to interest any of the men around her, but not for long. Let us recall the episode in the pavilion with Bazarov, was not Fenechka interesting to him? But he never for a minute doubted that this was not the person with whom he was able to connect his life.

Another heroine of the novel, Anna Sergeevna Odintsova, is an independent, domineering, independent and intelligent woman. She made an impression on those around her not with her "beauty", but with her inner strength and peace. This was what Bazarov liked, since he believed that "a beautiful woman cannot think freely." Bazarov is a nihilist, for him any warm attitude towards a woman is "romanticism, nonsense", so his sudden love for Madame Odintsova split his soul into two halves: "a convinced opponent of romantic feelings" and "passionately loving man." Perhaps this is the beginning of a tragic retribution for his arrogance. Naturally, this internal conflict of Bazarov is reflected in his behavior. When he was introduced to Anna Sergeevna, Bazarov even surprised his friend, since he was noticeably embarrassed ("... his friend blushed") True, Eugene himself was annoyed, "Here you go, women were scared!" He covered up his awkwardness with exaggerated swagger. Bazarov made an impression on Anna Sergeevna, although his "breaking in the first minutes of the visit had an unpleasant effect on her."

Eugene could not control his feelings, did not understand how to behave, and his defensive reaction is cynicism. ("Such a rich body - the first grade") This behavior surprises and angers Arkady, who by that time had also fallen in love with Odintsov. But Anna Sergeevna "treated Arkady like a younger brother, she appreciated in him the kindness and innocence of youth."

For Bazarov, in our opinion, the most difficult period began: continuous disputes, quarrels and discord with Arkady, and even a new incomprehensible feeling. During the days spent at the Odintsov estate, Bazarov thought a lot, assessed his own actions, but could not fully comprehend what was happening in him. And then Madame Odintsova flirted and teased him that “his heart ... was breaking,” and “his blood caught fire as soon as he remembered her ...”. But when Bazarov decides to confess his love to Anna Sergeevna, then, alas, he does not find reciprocity and in response he hears only: "You did not understand me."

It was then that the "car came loose," and the response of the nihilist is again rudeness. " What is Anna Sergeevna? I didn't hire her! ... I didn't break myself, so the woman won't break me. " His "student", Arkady, tries to support him, but Bazarov knows that their paths have parted ways and between them has long been established "false teasing ... - a sign of secret displeasure and suspicion." He says with wicked irony: "You are too sublime for my understanding ... and let's end it ... you were not created for our bitter, tart, boring life ..."

In the farewell scene with Arkady, Bazarov, although he restrained his feelings, nevertheless, unexpectedly for himself, became emotional. Oddly enough, Arkady turned out to be the only person closest to him, and Eugene still treated him well. Bazarov's assumption that Odintsova did not accept his love only because she was an aristocrat was not confirmed, since the simpleton Fenechka did not accept his "love affair."

List of used literature

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Composition

Ivan Sergeevich Turgenev's story "Asya" is a story about all-consuming love, written 1 in 1857 in Germany. It was first published in 1858 in the Sovremennik magazine. One of the most romantic stories, where the writer touches on the topic of first love, speaks of how important it is not to overlook your happiness. The story has autobiographical features.
The plot is based on the relationship between a seventeen-year-old girl Asya and N.N.

The love of the protagonist in the story "Asya" cannot be called love at first sight. By a strange, fatal coincidence, the hero understands how strong his feeling is, only having lost his beloved forever. First, he awakens interest in a mysterious girl, sincere and direct, natural in changing his moods, in the manifestation of his feelings. At first, her dissimilarity from others attracts Mr. NN, and at the same time repels: "This strange girl attracted me." And only looking into the soul of this girl, which she revealed for him, the hero gradually begins to experience feelings unknown to him until then. A thirst for happiness was kindled in him. He does not think yet whether he loves Asya, but is under the power of her charm. However, Mr. N.N. is used to living not with his heart, but with his reason. For him, first of all, the "practical" side of the issue is important, he reflects: "To marry a seventeen-year-old girl, with her disposition, how is it possible!" And when Asya confesses his love for him, the hero does not find a single word to become happy himself and give happiness to Asya.

But, unfortunately, he could not say this word, because love flared up in him "with irresistible force only a few moments later." Realizing the strength of his feelings, Mr. N.N. believes that everything can still be corrected. "Tomorrow I'll be happy!" - he says to himself, not realizing that "happiness has no tomorrow ... it has a present - and that is not a day, but a moment."

One moment became fatal for her, depriving him of the only woman with whom he could be happy. He does not immediately understand what he has lost. Only years later, "condemned to the loneliness of a familyless boar", living out "boring years", having lost "winged hopes and aspirations", does he feel that love for Asa has left an imprint on his whole life. He keeps, "like a shrine", objects that remind him of Asa, of the brightest and strongest feeling that he was destined to experience, and of happiness that he could not keep. "... The feeling Asya aroused in me, that burning, tender, deep feeling has not repeated itself," he admits sadly. He was afraid of her love.

Perhaps life with Asya would bring him a lot of anxiety and suffering, but it would be a real, living life, illuminated by a real, sincere feeling. But, having made a fatal mistake, the hero is doomed to drag out a boring, monotonous existence, devoid of purpose and higher meaning. It can be said that in the soul of N.N., it was as if two people were fighting: one was ready to accept Asya's love, the other held on to conventions. And he was given the freedom to choose to build his own destiny and become happy. But he refused this opportunity, choosing "the loneliness of a familyless mare" and keeping, "as a shrine, her notes and a dried geranium flower, the very flower that she once threw ... from the window."

NG Chernyshevsky in his work "Russian man for a rendezvous" wrote: "... while there is no talk about the case, and you just need to take idle time, fill an idle head or an idle heart with conversations or dreams, the hero is very strident; approaches the matter ... already begins to hesitate and feel clumsiness in the language ":
Asya's love for NN is another matter. This feeling became for her something more than simple love. This is due primarily to the willingness to forget about yourself for the sake of a loved one. Asya does not live in the future, she wants to be happy here and now, at this moment in time. NN is an extraordinary person for her, who knows how to live, she does not see his rationality and indecision. Asya idealizes him, and such an attitude, as you know, is characteristic of the first love, when the defects of a loved one become transparent, imperceptible. "How to live?" - Asya asks, thinking that her lover knows the answers to all questions. In N.N. she sees a person capable of a heroic deed, a hero.

I She is so carried away that she begins to doubt that she is worthy of the love of such a person as N. N., and therefore tries to suppress love in herself. But we see all the futility of these attempts, Kiostom Asya talks about her feelings.

The heroine of Turgeneva is alive and active, it is important for her "to go somewhere far away, to prayer, to a difficult feat ... Otherwise, days are passing, life will go away, but what have we done?" But at the same time, this image is very romantic, the writer endowed Asya with a special attraction inherent in her character, N. Nekrasov highly appreciated this image, saying that "she breathes with spiritual youth, she is all pure gold of life."

A special role in the story is played by the scene of the meeting between Asya and N.N., in which everything falls into place. They explain to each other, and this leaves an imprint on the fate of both heroes. After this unfortunate explanation, each of them is doomed to suffer. Happiness cannot be put on the back burner, and Turgenev directly says about this: "Happiness has no tomorrow ... it has a present ..." N.N. tries to accuse Asya of being ahead of the events, he throws her : "You did not allow a feeling that was beginning to ripen to develop, you yourself severed our connection, you did not have confidence in me, you doubted me."

This is a sad tale of first love. Happiness turned out to be impossible, because one of the lovers abandoned his feelings, choosing conventions. However, love cannot live by rules. NN's fear of being happy made not only him unhappy, but also Asya, for whom love was an important and integral part of life. N.N. hurt not only himself, but also Asya. She disappears, and this suggests that the girl will no longer be able to love the way she loved N.N.

Other compositions on this work

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1.2 The theme of love in the story "Asya"

So, the story of I.S. Turgenev "Asya" touches on love and psychological issues that concern readers. The work will also allow you to talk about such important moral values ​​as honesty, decency, responsibility for your actions, about the purpose and meaning of life, about choosing a life path, about the formation of personality, about the relationship between man and nature.

In Turgenev's story "Asya" the writer expresses his moral quest. The whole work is surprisingly clean and light, and the reader is involuntarily imbued with its magnificence. The town itself 3 is shown surprisingly beautiful, there is a festive atmosphere in it, the Rhine seems silvery-gold. Turgenev creates a surprisingly bright, rich color in his story. What a magnificent abundance of colors is presented in the story - "the air shining with purple", "the girl Asya, bathed in a sunbeam".

The story inspires optimism and joyful hope. But the denouement turns out to be surprisingly harsh. In love with each other, Mr. N.N. and Asya are young, free, but, as it turned out, fate cannot unite them. Asya's fate is very complex, and in many ways the reason for this is her origin. Also, the girl's character cannot be called ordinary, she is certainly a very strong personality. And at the same time, Asya is a rather strange girl.

love roman bazarov turgenev

Love for a strange but very attractive girl scares the young man a little. In addition, Asya's "false" position in society, her upbringing and education also seem too unusual to him. The experiences of the heroes in the story are shown very truthfully and vividly: "The inevitability of a quick, almost instantaneous decision tormented me. I had to. Fulfill a difficult duty. The thought that I was an immoral deceiver. Was ringing in my head." The young man seeks to take control of his emotions, although he does it badly enough. Something unimaginable is happening in Asya's soul. Love turns out to be a real shock for her, overtakes her like a thunderstorm.

Turgenev shows the feeling of love in all its beauty and strength, and his human feeling seems like a natural element. He says about love: "It does not develop gradually, you cannot doubt it." Indeed, love turns the whole life upside down. And the person does not find the strength to fight it.

As a result of all the doubts and mental anguish, Asya is forever lost to the main character. It was only then that he realized how strong the feeling of love he felt for this strange girl was. But, alas, it is too late, "happiness has no tomorrow."

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Sections: Literature

Lesson topic:"A love story as the basis of the plot of the story" Asya "by IS Turgenev."

Lesson objectives:

• Educational- to follow the origin of the love of Asya and Mr. N.N. and behind its development; observe how, with the help of the landscape, the author conveys the psychological state of the heroes.
• Developing- continue to develop skills to work with educational text, compare, generalize, draw conclusions.
• Educational- to create conditions for the education of moral qualities - humanity, responsibility for their actions and feelings.

Lesson type: combined lesson

Forms of organizing cognitive activity:

• frontal;
• individual;
• collective.

Methods:

• Explanatory and illustrative.
• Reproductive.
• Problem-reporting.
• Partial search engine.

Equipment: multimedia projector, poster with the epigraph of the lesson “Happiness has no tomorrow. He has a present - and that is not a day - but a moment. " (I.S. Turgenev), cards for reflection.

DURING THE CLASSES

The first stage of the lesson

1. Organizational moment(complete readiness of the class and equipment for the lesson).

2. Goal setting

I communicate the goals of the lesson, create an emotional and business mood. A portrait of I.S. Turgenev appears on the screen, underneath the objectives of the lesson are written and illustrations for the story "Asya" by artist K. Klementyeva are placed. ( Annex 1 , slides 1-7)

The second stage of the lesson

3. Word of the teacher: Today we have the second lesson on the works of I.S. Turgenev. Let's remember what we already know about the writer. What is its uniqueness and peculiarity? (Students talk about the variety of genres in the writer's work, about his devotion to the Russian language).
We will see in the lesson today one more feature of Turgenev the writer. This is a writer-psychologist who conveys the experiences of the heroes, shows the movement of their thoughts and feelings with the help of a portrait, landscape, intonation, and hints. In many works, the writer takes the hero through the test of love.
To start working on the story, first we turn to the dictionary and recall the meaning of the literary terms “story”, “plot”.
The meanings of these terms appear on the screen. (Annex 1 , slide 8)

4. Conduct a conversation about the story.

- To which of the heroes of the story can the epigraph of the lesson be attributed? What can you tell us about Mr. N.N.? What is his inner world? Find the answer in the first chapter of the story, in the landscape on page 350 (Textbook of literature in 2 parts, grade 8. Ed. V.Ya. Korovina. M., "Education", 2007). (Students note serenity, spiritual purity, emotional excitement, expectation of something in the inner world of Mr. N.N.).
- In chapter 1, the author gives the reader a hint of what the heroine of the story will be like. The episode on page 351 talks about the heroine's symbolic appearance and "a small statue of the Madonna with an almost childlike face."
- In chapter 2, Mr. N.N. met Gagin and his sister Asya. Tell us about her. (Students talk about Ace).
- Psychologist Turgenev is gradually preparing the reader for the emergence of relations between N.N. and Asya through pictures of nature. In the landscape on pages 354-355, shades of red are repeated: scarlet, crimson, that is, the colors of love.
- At the end of Chapter 2, an episode of farewell is symbolic: a broken moon pillar across the Rhine River denotes the heroes' romantic dreams or the collapse of N.N. Choose the correct answer using the episode on page 356.
- For 2 weeks Asya was very different: either she introduced herself as a marching soldier, then she played the role of a high society lady, then she changed into a simple dress. Why is she acting this way? All her behavior suggests that Asya rushes about, cannot understand herself, but it is already clear that love is awakening in her.
- In Chapter 6, Mr. N.N. turned out to be an unwitting witness to Asya's dialogue with his brother. Read the emphatic dialogue on page 367. What interfered with the birth of love? (Students answer that this is a feeling of annoyance, suspicion, jealousy).
- How easy and calm it became in NN's soul when he learned the story of Asya. Tell Asya's story (chapter 8).
- What is N.N. to Asya? You will find the answer on page 375. For the first time, they spent a day together, talking in a friendly way, chatting about everything and nothing. The dialogue that took place between them is very important. How do you understand him? What wings are we talking about? Write a miniature essay of 3-5 sentences in a notebook. (Students write for 2-3 minutes).
- The relationship of the heroes has come to a moment that can be called a "declaration of love." If we recall all the elements of the composition of the work, then this scene will be the culmination. Remember what a climax is. The meaning of the term appears on the screen. ( Annex 1 , slide 9)
- The culmination of the story is in chapter 16. I read selectively an episode of the explanation of Mr. N.N. and Asya. Can N.N. in cowardice, in betrayal? (Pupils say that NN turned out to be a weak person, he could not stand Asya's love. Love requires the work of the soul, and NN could not stand this test).
- Why did 2 people in love break up? Who is guilty? On the screen, the table "Let's compare the psychological state and actions of the heroes."(Annex 1 , slide 10) This table shows that the relationship of the heroes is built on contrast (antithesis). Let's turn to the dictionary. H on the screen the meaning of the term "antithesis" is given.(Annex 1 , slide 11)
- What happened to the characters at the end of the story? Read the last 22 chapter expressively and think why I took Turgenev's words as an epigraph: “Happiness has no tomorrow. He has a present - and that is not a day - but a moment. "

The third stage of the lesson

On the screen is a portrait of M. Gershenzon.(Annex 1 , slide 12) Let's summarize the lesson. How do you understand the words of the literary critic M. Gershenzon “Love inspires a person, his wings grow, and he turns into a bird”? (I ask 1-2 students).
What is the role of the landscape in the story? There are 3 answer options on the screen ( Annex 1 , slide 13), select 1 of them.
a) the landscape, as it were, absorbs the psychological state of a person, becoming a "landscape of the soul";
b) the landscape, as it were, characterizes the hero and the social conditions of life;
c) the landscape acts as a background associated with the place and time of the action.
(Students choose option a for their answer).

The fourth stage of the lesson

Homework:
a) differentiated: for a weak student, remember all the elements of the composition; tell a strong student about the hero-narrator, his attitude to Asya and Mr. N.N .;
b) the rest of the students in the class - write a miniature essay to choose from "My attitude to Asya" or "My attitude to N.N."

The fifth stage of the lesson

Reflection. Each student has a card on the table with the record: "A man turns into a bird when he ..." Add this sentence yourself. Pupils finish the sentence in different ways: “… when he is in love”, “… when he is happy”, “… when a loved one is near”.

The story "Asya" is a touching story about unfulfilled love. The main characters are sometimes compared to Romeo and Juliet, although there were no obstacles in their way like Shakespeare's lovers. The reason why a pure high feeling remained only a memory lies not in external reasons, but in the characters of the main characters.

The origin of feeling

Still from the film

The main character, who is hiding under the initials N.N., travels around the world. Stopping in a European town, he goes to a student event. N.N. does not like to communicate with Russian people abroad, but one couple attracts his attention: a young handsome youth and his mysterious companion. Easy communication is established between young people. The new acquaintance's name is Gagin, and his companion is Asya. They are brother and sister, as it turns out a little later - paternal half. Mr. N.N. begins to visit them often, believing that he sympathizes with Gagin, this man with a real Russian soul. But little by little he realizes that he is more attracted to Asya. The hero likes this unusual pretty girl. But her behavior is not always clear to Mr. N.N. The heroine often behaves like a capricious child. But sometimes her features are transformed and her bright sad look excites the hero. Asya also falls in love with Mr. N.N. But, being still very young, she does not know how to properly attract his attention.

Lovers from different worlds

Mr. N.N. and Asya have feelings for each other. But they are very different people. The hero is used to approaching everything reasonably, because feelings seem dangerous to him. He also applies to the choice of a future wife. In the secular world in which he grew up, the image of the ideal wife is a compliant woman with good manners, the shadow of a husband. Asya's image did not fit into such stereotypes. She is a wild element, capable of both creating and destroying. Asya's originality attracted Mr. N.N., but it was also she who alarmed him, frightened him. Plus, she's only 17 years old. And the idea of ​​marrying a minor girl seemed silly to the protagonist. Therefore, he hesitated with a declaration of love.

Asya's confession

The heroine did not find a place for herself after meeting with Mr. N.N. The first love arose so suddenly and covered her head. She is still young and does not know how to behave with her lover. Therefore, Asya behaves strangely: now she sits quietly, then suddenly breaks loose and runs away somewhere, then she laughs insolently, then she looks very thoughtfully and sadly.

However, despite her young age, it is Asya who decides to take the first step towards love. Not being able to cheat, she simply confesses her feelings to him. The heroine expects that Mr. N.N. will understand her and say the right words, but he hesitates. Instead of honestly talking to the girl, the hero tells everything to her brother. Gagin immediately realizes that his friend is not ready for marriage. He is not angry because he also considers such a marriage inappropriate.

Awareness of the mistake

Mr. N.N. returns to himself, but the next day he realizes what a mistake he made, because he loves Asya! He comes to the Gagins to ask the girl's hand and heart. But they had already left, and the hero never met them again. However, the storyteller will keep his love for this strange, mysterious girl forever.

At the beginning of the story, the hero is already a mature person, but recalls his first love with tenderness. He realized that he had made a mistake by not saying simple words to Asya about his true love.