Composition: Superfluous people in the works of Turgenev. “The theme of “superfluous people” in the work of I. Turgenev Biography of I.S. Turgenev…………………………….4

Ministry of General and Vocational Education of the Russian Federation

Municipal secondary school No. 3

ESSAY

on literature

topic:

"Superfluous people" in the works

I.S. Turgenev"

performed

10 "A" class student

Antonova A.V.

checked

Drayeva T.F.

Gulkevichi

2002

Introduction………………………………………………………………………….3

1.1. Biography of I.S. Turgenev…………………………….4

1.2. Stories, novels and novels by I.S. Turgenev…10

Chapter 2. "Superfluous people" in the works of I.S. Turgenev..19

2.1. “Superfluous people” in the stories “Diary of a superfluous person”, “Correspondence”, “Yakov Pasynkov”……………………….20

2.2. Rudin (“Rudin”)……………………………………………25

2.3. Lavretsky (“Noble Nest”)………………….31

2.4. Nezhdanov (“Nov”)………………………………………..37

Conclusion………………………………………………………………….43

List of used literature……………………………..44

INTRODUCTION

Name I.S. Turgenev for almost a century aroused passionate disputes in Russian and foreign criticism. Already his contemporaries were aware of the enormous social significance of his works. Not always agreeing with his assessment of the events and figures of Russian life, often denying in the sharpest form the legitimacy of his writer's position, his concept of the socio-historical development of Russia.

Turgenev belonged to a galaxy of major Russian writers of the second half of the 19th century. In his work, the realistic traditions of Pushkin, Lermontov, Gogol continue to develop, enriched with new content.

Turgenev possessed an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and to give them an artistically perfect form and aesthetic persuasiveness. But the philosophical basis of Turgenev's work to date, unfortunately, has not received due attention from researchers.

Chapter 1. The creative path of I.S. Turgenev

1.1. Biography of I.S. Turgenev

Turgenev's life had a very great influence on the works he created, since in them he described reality, all the subtleties of relations between different people under the influence of the reality of that time.

Ivan Sergeevich Turgenev was born on October 28 (November 9 NS) in 1818. in the city of Orel. It was a noble family: his father, Sergei Nikolaevich, a retired hussar officer, came from an old noble family; mother, Varvara Petrovna, is from a wealthy landowning family of the Lutovinovs. Turgenev's childhood passed in the family estate of Spassky-Lutovinovo. He grew up in the care of tutors and teachers, Swiss and Germans, homegrown uncles and serf nannies. Here he early learned to subtly feel nature and hate serfdom.

With the family moving to Moscow in 1827, the future writer was sent to a boarding school and spent about two and a half years there. Further education continued under the guidance of private teachers. Since childhood, he knew French, German, English.

In the autumn of 1833, before reaching the age of fifteen, he entered Moscow University, and the following year he transferred to St. Petersburg University, from which he graduated in 1936 in the verbal department of the philosophical faculty. One of the strongest impressions of early youth (1833) was falling in love with Princess E.L. Shakhovskaya, who at that time was experiencing an affair with Turgenev's father, was reflected in the story "First Love" (1860).

In May 1838, Turgenev went to Germany (the desire to complete his education was combined with the rejection of the Russian way of life based on serfdom). The catastrophe of the steamer "Nikolai I", on which Turgenev sailed, will be described by him in the essay "Fire at Sea" (1883; in French). Until August 1839, Turgenev lives in Berlin, listens to lectures at the university, studies classical languages, writes poetry, communicates with T.N. Granovsky, N.V. Stankevich. After a short stay in Russia, where he prepares for master's exams and attends literary circles and salons: he meets N. Gogol, S. Aksakov, A. Khomyakov, on one of his trips to St. Petersburg - with Herzen, in January 1840 he goes to Italy, but from May 1840 to May 1841 he was again in Berlin, where he met M.A. Bakunin. Arriving in Russia, he visits the Bakunin estate Premukhino, converges with this family: soon an affair begins with T.A. Bakunina, which does not interfere with communication with the seamstress A.E. Ivanova (in 1842 she will give birth to Turgenev's daughter Pelageya). In January 1843 Turgenev entered the service of the Ministry of the Interior.

In 1842, he successfully passed the master's exams, hoping to get a professorship at Moscow University, but since philosophy was taken under suspicion by the Nikolaev government, the departments of philosophy were abolished at Russian universities, and it was not possible to become a professor.

In 1843, a poem based on modern material “Parasha” appeared, which was highly appreciated by V.G. Belinsky. Acquaintance with the critic, which turned into friendship (in 1846 Turgenev became the godfather of his son), rapprochement with his entourage (in particular, with N.A. Nekrasov) change his literary orientation: from romanticism, he turns to an ironic moral descriptive poem (“The Landowner” , “Andrey”, both 1845) and prose, close to the principles of the “natural school” and not alien to the influence of M.Yu. Lermontov (“Andrey Kolosov”, 1844; “Three Portraits”, 1846; “Breter”, 1847). In the same year, he entered the service of an official in the “special office” of the Minister of the Interior, where he served for two years. Turgenev's social and literary views during this period were determined mainly by the influence of Belinsky. Turgenev publishes his poems, poems, dramatic works, stories. The critic guided his work with his assessments and friendly advice.

November 1, 1843 Turgenev meets the singer Pauline Viardot (Viardot Garcia) during her tour in St. Petersburg, love for which will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850 he lived abroad (in Germany, France; Turgenev witnessed the French Revolution of 1848): he took care of the sick Belinsky during his travels; closely communicates with P.V. Annenkov, A.I. Herzen, meets J. Sand, P. Merimet, A. de Musset, F. Chopin, C. Gounod; writes the novels “Petushkov” (1848), “The Diary of a Superfluous Man” (1850), the comedy “The Bachelor” (1849), “Where it is thin, it breaks there”, “Provincial Girl” (both 1851), the psychological drama “A Month in the Country” (1855).

The main work of this period is “The Hunter’s Notes”, a cycle of lyrical essays and stories that began with the story “Khor and Kalinich” (1847; the subtitle “From the Hunter’s Notes” was invented by I.I. Panaev for publication in the “Mixture” section of the Sovremennik magazine ); a separate two-volume edition of the cycle was published in 1852, later the stories “The End of Chertop-hanov” (1872), “Living Powers”, “Knocks” (1874) were added.

In 1850 he returned to Russia as an author and critic, collaborating in Sovremennik, which became a kind of center of Russian literary life.

Impressed by the death of N. Gogol in 1852, he published an obituary banned by the censors. For this, he is arrested for a month (while under arrest, he writes the story “Mumu”), and then sent to his estate under the supervision of the police without the right to leave the Oryol province. In May he was exiled to Spasskoye, where he lived until December 1853 and worked on an unfinished novel, the story Two Friends. Here he meets A.A. Fet, actively corresponded with S.T. Aksakov and writers from the circle of Sovremennik. A.K. played an important role in the efforts to release Turgenev. Tolstoy.

In 1853 it was allowed to come to St. Petersburg, but the right to travel abroad was returned only in 1856.

Turgenev takes part in the publication of "Poems" by F.I. Tyutchev (1854) and provides him with a preface. Mutual cooling off with a distant Viardot leads to a brief, but almost marriage-ended romance with a distant relative, O.A. Turgeneva. The novels “Calm” (1854), “Yakov Pasynkov” (1855), “Correspondence”, “Faust” (both 1856) are published.

"Rudin" (1856) opens a series of Turgenev's novels, compact in volume, unfolding around the hero-ideologist, accurately fixing the current socio-political issues in a journalistic way and, ultimately, putting "modernity" in the face of the unchanging and mysterious forces of love, art, nature . Continue this line: "Noble Nest", 1859; "On the Eve", 1860; "Fathers and Sons", 1862; "Smoke" (1867); "Nov", 1877.

Having served abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relations with Viardot and his daughter, who was brought up in Paris. He goes to England, then to Germany, where he writes Asya, one of the most poetic stories, which, however, lends itself to public interpretation (N.G. Chernyshevsky’s article “Russian Man on Rendez-Vous”, 1858), and and spends the winter in Italy. By the summer of 1858 he was in Spasskoye; in the future, the year of Turgenev will often be divided into “European, winter” and “Russian, summer” seasons.

After “On the Eve,” Turgenev breaks with the radicalized Sovremennik (in particular, with N.A. Nekrasov). The conflict with the “young generation” was aggravated by the novel “Fathers and Sons”. In the summer of 1861 there was a quarrel with L.N. Tolstoy, which almost turned into a duel (reconciliation in 1878). In the story “Ghosts” (1864), Turgenev thickens the mystical motives outlined in “Notes of a Hunter” and “Faust”; this line will be developed in “The Dog” (1865), “The Story of Lieutenant Ergunov” (1868), “Dream”, “The Story of Father Alexei” (both 1877), “Songs of Triumphant Love” (1881), “After Death (Klara Milic )” (1883). The theme of the weakness of a person who turns out to be a toy of unknown forces and doomed to non-existence, to a greater or lesser extent, colors all of Turgenev's late prose; it is most directly expressed in the lyrical story “Enough!” (1865), perceived by contemporaries as evidence of Turgenev's situationally conditioned crisis.

In 1863 there is a new rapprochement between Turgenev and Pauline Viardot; until 1871 they live in Baden, then (at the end of the Franco-Prussian war) in Paris. Turgenev closely converges with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures. His all-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice president; in 1879 he received an honorary doctorate from Oxford University. Turgenev maintains contacts with Russian revolutionaries (P.L. Lavrov, G.A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of a monument to Pushkin in Moscow.

Along with stories about the past (“King of the Steppe Lear”, 1870; “Punin and Baburin”, 1874) and the “mysterious” stories mentioned above, in the last years of his life, Turgenev turned to memoirs (“Literary and everyday memories”, 1869-80) and “Poems in Prose” (1877-82), where almost all the main themes of his work are presented, and the summing up takes place as if in the presence of impending death.

In February 1879, when he arrived in Russia, he was honored at literary evenings and ceremonial dinners, strenuously inviting him to stay in his homeland.

In the spring of 1882, the first signs of a serious illness appeared, which deprived the writer of the opportunity to move (cancer of the spine).

Turgenev died in Bougival, a suburb of Paris. According to the writer's will, his body was transported to Russia and buried in St. Petersburg.

As an outstanding master of psychological analysis and landscape painting, Turgenev had a significant impact on the development of Russian and world literature.

1.2. STORIES, Tales and novels by I.S. Turgenev

The initial period of creativity I.S. Turgenev, who had the character of a literary apprenticeship for him, can be considered from 1834, when Turgenev wrote his first youthful poem, Steno, to 1843, when Parasha. Story in verse.

“In 1843,” Turgenev wrote in Literary and Everyday Memoirs, “an event took place in St. Petersburg, and in itself it was extremely insignificant and long ago absorbed by general oblivion. Namely: there was a small poem by a certain T.L. under the name "Parasha". This T.L. was I; with this poem I entered the literary field.

Most of the early works of I.S. Turgenev refers to the 30s and early 40s of the XIX century - to this transitional period in the history of Russian society.

Young Turgenev, in his first poetic experiments in the 1930s, paid a certain tribute to the passion for romantic images and the romantic lexicon of Benediktov and Marlinsky, but this influence was very short-lived and shallow.

Some traces of this passion can be found in the very few poems written by Turgenev in the initial period of his work. So, in poems devoted to the themes of love and nature, there are romantic exaggerations. Love in these verses is “rebellious”, “mad”, “sultry”, kisses are “burning”, the picture of the morning (in the poem “Confession”) is given with excessive, pretentious splendor:

And, descending from the peaks of the Urals,

Like the palace of Sardanapalus,

A clear day will light up...

But in the vast majority of young Turgenev's poetic experiments, the general character of his work was realistic. Pushkin, Lermontov and Gogol were his true literary teachers.

What was Turgenev’s work before the “Notes of a Hunter”, how to regard his numerous poems and poems, which he was ready to abandon in the subsequent, mature period of literary activity?

If we approach them with the yardstick with which Turgenev approached them, they really do not meet the necessary requirements either from an ideological or artistic side. They rehearse either Pushkin’s (“Parasha”) or Lermontov’s (“Conversation”) poetry, and although Turgenev approaches the development of the themes of his literary teachers in his own way, he tries to give an independent interpretation “ extra people” and “restless” heroes, but his positions are not clear to him, and the heroes of his poems leave readers with the impression of something unsaid and vague. There is no clarity of thought in most lyrical poems devoted to the themes of love and nature.

However, in no case can it be said that the initial stage of Turgenev's literary activity was a complete failure for him, and, moreover, that he did not give anything to the writer himself in relation to his artistic growth. Poetic creativity taught Turgenev the layout of material, developed in him the ability to select from the mass of impressions and thoughts the most significant and typical, the ability to concentrate material and say a lot in a little.

Already Belinsky singled out such poems as "Fedya" and "Ballad" in Turgenev's early work.

"Ballad" (1842), written based on the folk song about Vanka the key-keeper, was set to music by Rubinstein and still lives in chamber performance.

It should also be noted, as a significant creative achievement of the young Turgenev, the poem “On the Road”, which, along with great musicality, sincerity of feeling and sincerity, is distinguished, the lines of which are known to everyone without exception:

Foggy morning, gray morning

Fields sad, covered with snow,

Reluctantly remember the time of the past,

Remember the faces long forgotten...

And in the poems of I.S. Turgenev, who usually suffer from insufficient clarity in the disclosure of characters and the main ideological meaning, there are separate bright everyday scenes and landscapes, showing that Turgenev already in these years was able to notice the essential, characteristic in life and nature and find the necessary accurate and expressive words for description.

The greatest success among Turgenev's poems was the poem "The Landowner", which is a series of live sketches of the landowner's life. Belinsky wrote about this poem: “Finally, Turgenev wrote a poetic story “The Landowner” - not a poem, but a physiological sketch of landowner life, a joke, if you like, but this joke somehow came out far better than all the author’s poems. The glib epigrammatic verse, the cheerful irony, the fidelity of the pictures, and at the same time the consistency of the whole work, from beginning to end, all showed that Turgenev attacked the true kind of his talent, took up his own, and that there was no reason to leave him poetry at all.

Turgenev was already a good poet in the 40s. But just good. And his ambition demanded more.

One of the main problems posed to writers in the second period of the Russian liberation movement was the problem of a positive hero actively participating in the implementation of the immediate tasks of socio-political and national economic life, and in connection with this, a reassessment of the advanced noble intelligentsia, who still played in Russian leadership role in society. This problem confronted Chernyshevsky, Goncharov, Pisemsky, and other writers. Turgenev came close to this problem in the mid-1950s.

In the 40s, stories and comedies did not occupy a major place in Turgenev's work and were not his best works - he won well-deserved fame in the 40s not with stories or comedies, but with “Notes of a Hunter”.

After 1852, short stories and novels became his dominant genres. In terms of subject matter, these works differed significantly from the “Notes of a Hunter”. Only in a few of them Turgenev still depicts the peasantry and paints pictures of serf life; such are the stories “Inn”, “The Master's Office” (an excerpt from an unpublished novel), the story “Mumu” and later, in 1874, the story “Living Powers”. In most of Turgenev's works of the 1950s and 1970s, various groups of the noble class and, above all, the progressive noble intelligentsia, usually compared with the Raznochinskaya, revolutionary-democratic intelligentsia, are the main subject of depiction by Turgenev. For the most part, in these works, new means of Turgenev's artistic skill are developed and refined.

Turgenev's stories and novels of the 1850s, the famous literary critic D.N. Ovsyaniko-Kulikovsky connected with the history of the Russian intelligentsia.

Turgenev's novels combined several of the most important properties for literature: they were smart, fascinating and impeccable in terms of style.

The ideological and artistic design of the works: the story “Asya” and the stories “Calm” and “Spring Waters” determined the originality of the conflicts laid in their basis and a special system, a special relationship of characters.

The conflict on which all three works are built is the clash of a young man, not quite ordinary, not stupid, no doubt, cultured, but indecisive, weak-willed, and a young girl, deep, strong in spirit, integral and strong-willed.

It is essential that the conflicts in these works, and the selection of characteristic episodes, and the correlation of characters - all obey one main task of Turgenev: the analysis of the psychology of the noble intelligentsia in the field of personal, intimate life.

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

Turgenev's novels are permeated with historicism in all their details, since the vast majority of the characters have one or another relation to the main social problem posed by the writer. In the novel “On the Eve”, not only Elena lives under the impression of a decisive, impending turning point in Russian public life - everyone experiences this feeling in their own way: Bersenev, Shubin, Uvar Ivanovich, and, at least in a negative sense, Kurnatovsky and Stakhov Elena's father. In the novel "Nov" not only Nezhdanov and Marianna, but almost all the characters, in one way or another, are directly or indirectly connected with the unfolding revolutionary movement.

Turgenev's novels (as well as stories) cannot be regarded as an accurate, photographic reflection of real historical reality. It is impossible, as some pre-revolutionary critics did (for example, Avdeev), to study the history of Russian social life in the 50s-70s of the 19th century based on Turgenev's novels. One can speak about the historicism of these novels only taking into account the socio-political position of Turgenev, his assessment of those social forces that took part in the historical process, and, first of all, his attitude towards the noble class that dominated at that time.

At the center of Turgenev's novels are the main characters, who can be divided into four groups. The first group is advanced intellectual nobles who took on the role of leaders of the social movement, but due to their impracticality, weak character, they did not cope with the task and turned out to be superfluous people (Rudin, Nezhdanov). The second group is representatives of the young intelligentsia, raznochintsy or nobility, possessing both knowledge, and willpower, and hardening by labor, but found themselves in the grip of wrong, from Turgenev's point of view, views and therefore went down the wrong road (Bazarov, Markelov). The third group - positive heroes (also in the understanding of Turgenev), approaching the correct solution of the issue of truly progressive activity. These are Lavretsky, Litvinov, noble intellectuals who managed to overcome the legacy of gentleness of the nobility, who came after hard trials to socially useful work; in particular, this is a raznochinets, a native of the people of Solomin, the most perfect image of a positive hero in Turgenev in the last period of his literary work. And, finally, the fourth group - advanced girls, in the images of which Turgenev presents three successive stages of involving a Russian woman of the 50-70s in public life: Natalya, who is only still striving for social activity, Elena, who has already found a useful job, but so far still in a foreign land, and Marianna, a member of the Russian revolutionary movement, who finally determined her real life path in joint cultural work with Solomin.

Summing up all the above, we can note the key importance of the early work of the writer for the further development of his skill. It was this experience, which seemed so insignificant to Turgenev himself, that subsequently allowed him to write “Notes of a Hunter”, “Fathers and Sons” and other significant works, which, in turn, had a huge impact on the development of Russian and foreign literature.

Turgenev's merit in a more specific area of the novel lies in the creation and development of a special variety of this genre - the public novel, in which new and, moreover, the most important trends of the era were promptly and quickly reflected. The main characters of Turgenev's novel - the so-called "superfluous" and "new" people, the noble and raznochin-democratic intelligentsia, for a significant historical period determined the moral and ideological level of Russian society.

CHAPTER 2. "EXTRA PEOPLE" IN THE WORKS OF I.S. TURGENEV.

This essay will consider the first group of heroes - "extra people". The very concept of the "superfluous person" was introduced into fiction by Turgenev, and he gave, so to speak, a pathoanatomical analysis of this remarkable type of Russian life in the 19th century. Turgenev’s “superfluous people” include Rudin (“Rudin”), Alexei Nezhdanov (“Nov”), Fyodor Lavretsky (“The Nest of Nobles”), Chulkaturin (“Diary of an Extra Man”), Yakov Pasynkov (“Yakov Stepsons”), Alexey Petrovich ("Correspondence"). To consider these heroes, it is worth considering the named works.

2.1. "EXTRA PEOPLE" IN THE STORIES "DIARY OF AN EXTRA PERSON", "CORRESPONDENCE", "YAKOV PASYNKOV".

The story “The Diary of an Extra Man”, “Correspondence”, “Yakov Pasynkov” is united by the theme of “an extra person”.

The writer himself considered The Diary of a Superfluous Man a successful work. “For some reason I imagine that the Diary is a good thing…” he wrote to Kraevsky. But in this story with a characteristic title, Turgenev still does not give a socio-historical explanation for the type of "superfluous person"; his social and ideological ties and relations are not deeply disclosed. The symptoms of the disease are identified and described, but its causes and treatment have not been determined. The author of the Diary, the loser Chulkaturin, bears the features of an "extra person", but he still does not have that moral and intellectual superiority over those around him, which Turgenev would later note in Nezhdanov and Rudin. "Diary" is only the first draft of the type of "superfluous person". The composition of the story, going back to Lermontov's "A Hero of Our Time", corresponded to the image of a reflective hero. But the hero himself is put in that ridiculous and miserable position, which reduced the tragedy of his fate.

This inconsistency stems from the fact that in the story the theme of the “superfluous person” merges with the theme of the “little person”, over whom the St. Petersburg aristocrat triumphs. "Superfluous people" were not at all small people like Makar Devushkin, whom you remember at the end of the story. In subsequent works on this topic, Turgenev will show how the wealth of the inner world of the “superfluous person” will triumph over aristocratic gloss, secularism and superficial education.

A major role in the development of the theme of the "superfluous person" in the work of Turgenev was played by the story "Correspondence". There are few specific historical details in it that characterize the type of superfluous person as a phenomenon of Russian life of a certain era. This is a psychological study that illuminates the moral and psychological side of the problem. The moral image and character of a superfluous person, his lack of will and tendency to reflect, the discord between dream and reality, his relationship with the chosen one of his heart, the sad ending of his life - everything that in "Rudin" will receive a specific historical content, in "Correspondence" is given in form of moral and psychological sketches.

In The Diary of a Superfluous Man, Turgenev gives a confession of a hero. "Correspondence" is not only the confession of two interlocutors, not only the introspection to which the parties, both participants in the conflict, subject themselves. This is also a dialogue full of frank mutual criticism. Imbued with passionate reproach, the story of Marya Alexandrovna, awakened by love for the ideal, about disappointment in fate, can serve as an excellent commentary on the specific life drama objectified by Turgenev in the person who embodied this ideal in her eyes, Natalia Lasunskaya. The heroine of "Correspondence" is a girl who is not satisfied with the "ordinary worries of home life."

The Silver Age is a period of completely new attitudes of a person. At this time, people's spiritual values and worldview were changing. The poetry of this period is amazing and unique.

Criticism of Russian reality in the play by A. M. Gorky “At the Bottom” It is good when a read book leaves a mark on the soul. And if it is bright, we suddenly think about

Thoughts about the read story “garnet bracelet” We are told by the agreement of strings in a quartet, That a lonely path is like death. Shakespeare. Kuprin, like all writers of all times and peoples without exception, did not bypass the theme of love in his story, but his love is special and not like anything else - be...

gloom-COLD-NIGHT. Depicting the deadness of Golovlev's existence itself, Saltykov makes extensive use of archetypal images of darkness, cold, night, and the like. And when he draws pictures of nature, and when he describes the life of Golovlev's estate, the writer relies on what is significant for the people...

TYPICAL CHARACTER IN GOGOL'S POEM "DEAD SOULS" In 1835 Gogol began to write the poem "Dead Souls". The plot for this work was suggested to him by Pushkin. He told about one adventurer who, buying up dead Souls, got rich. The work on which Gogol began work ...

Creative work based on the story of A.I. Solzhenitsyn "MATRENIN DVOR". How to interpret the image main character: victim or saint? "The earth is not standing without a righteous man."

Chronological table of life And Turgenev Dates Events in life Creativity October 28 (November 9), 1818 Birth of Ivan Sergeevich Turgenev in Orel. Father, Sergei Nikolaevich Turgenev, belonged to an old noble family, mother, Varvara Petrovna Lutovinova ...

“Cavalry” by I. E. Babel is a collection of short stories related to the theme civil war and in the same way as the narrator. Cavalry is written on the basis of Babel's diaries (when he fought in the First Cavalry Army). Babel himself fought under the name of Lyutov.

The most difficult time in the life of the Russian village - the period of collectivization - the author shows through the perception of the child Mikhanka Khokhlov. Therefore, the rural world is revealed to us through children's eyes.

Sad time! Oh charm! Your farewell beauty is pleasant to me - ...

The theme of love in the story of I.S. Turgenev's "Asya" Reading I.S. Turgenev's story "Asya" we see that when Asya fell in love with N.N., she was ready to forget about herself. The author writes that for her love “there is no tomorrow”. In addition, she has “no feeling is half...

Perceiving literally the worst vices on earth as his personal enemies, firing at them with all the poetic “fire weapons”, he, as it were, extends a friendly hand to those who have experienced grief, offended or in trouble.

In the very title of his comedy “” Griboedov lays the main idea of the work, we can already understand that everything in it will refer to the concept of “mind”.

The tendency to comprehend the fate of society, the fate of the individual, national culture, correlated with the humanistic ideals of Christianity, found expression in the new works of B. Akhmadulina. She seeks to "raise the bar" of poetic culture.

What is it worth living for, or why did Danko's heart go out (“Old Woman Izergil” by A.M. Gorky) Sooner or later, a person faces the question: why, why live? And everyone decides it in their own way. All people are different. Therefore, they throw him away, plunging into the fuss and search for mat...

The subject of the essay is: "". The novel by I. S. Turgenev “Fathers and Sons”, written in 1861, is rightfully considered one of the most famous works great novelist. Turgenev has always been distinguished by an amazing ability to see, recognize the hero of the era, to feel the mood of society. Roman &ldqu...

Composition based on Gogol's work “The Inspector General” “Life in a county town before the arrival of the auditor” One of the first works of Nikolai Vasilyevich Gogol was the comedy “Inspector General”, where he brought a whole gallery of Russian types onto the stage. Comedy is not a slander on the writer's contemporary life, but its reflection...

There is, perhaps, not a single poet in the world who does not write about the tasks of poetry. Prose, poetry, critical articles - it doesn't matter. As for Mayakovsky, he also had to defend his poetic creed, defend his views in constant struggle, defend his speeches with articles ...

Zheltkov is a schizophrenic (analysis of the story by A.I. Kuprin “ Garnet bracelet”) In the story of A.I. Kuprin “Garnet Bracelet” it is told that in literature it is much more common than in life - about pure and noble unrequited love. Passionate love or quickly passing ...

Roman I. Akulov "Kasyan Ostudny" tells us about the fate of the Russian village on the eve of collectivization. The author shows the social heterogeneity of the village in the late 1920s.

IN human life there is some, let's call it, rocker,
with two bowls, like the scales of the goddess of justice. On one side
this yoke contains everything material (visible); another
- everything spiritual (invisible). Thus, if the material goes
down, then the spiritual goes up; if the spiritual goes down, then
material grows. Others under the concept of "material goes down"
understand the following: the more material they put on this
scales, the more it will go down under the influence of the gravity of material
good, and the higher, by definition, the spiritual
bowl of scales. The latter is taken as the postulate of truth, and is not accepted
take into account the other side: if you put so much
spiritual, how much in the above case is material, then,
in theory, the opposite should happen: the spiritual becomes heavier and lowers
down, and the material grows. So what is up and down then? After all,
and in both cases it is not clear which side is
spiritual wealth and in what material. It's always possible to speak
about both, without any fear of coming into conflict with
with its own logic.

It is necessary to consider how this rocker was formed in general.
Imagine the symbol of Aries: horns that branch into different
sides. In the same way, the separation of the will occurs when
human evolution. From birth, he is a completely unified
a will that progresses in natural connection with the will in nature.
Next, the brain begins to take shape in a living being and, together with
him, consciousness. At a certain point it life path, consciousness
begins to go in one direction, the will in another. Therefore, it develops
feeling of split consciousness. At an older age, it develops
opposition of will to consciousness (intellect). And we're watching
the so-called yoke of life.

Therefore, in human development, there is a certain point "X", or 0,
from which movement occurs in different directions: from 0 to
10 (or) - in one and the other direction.

It is not difficult to guess that, branching out, there is a will in both
sides. In one part, she represents herself, in
the other - religiosity, sexuality is attached to it by the intellect
and the will to power, which are in each other in a circle, and
in general sense affirm ethics (Spinoza); moral law
(Fichte); categorical imperative (Kant), morning toilet, prayer,
labor (Baudelaire); peace, labor, May (Lenin): “My desires are Power,
property, dominance. My aspiration is work, work ”(Faust.
Goethe.). By the way, Baudelaire owns these words: "IN
any person, at any moment, two simultaneous impulses coexist
- one to God, the other to Satan. Turning to God, or spiritual
the beginning is the desire to rise, step by step; appeal
but to Satan, or the animal principle, is the bliss of descent.

That is, what the intellect thinks of everything that comes from outside,
given to him a priori in the form of will, which, on the other hand, intellect
deliberately opposed. In short, what is
in me, then I see outside of me, and this vision I despise - therefore,
I love and hate myself: as Turgenev's "superfluous" man. About it
a little lower.

I will remain true to myself and, based on the foregoing, I will call
that which is always with us, that which is not coming
from the outside, that which establishes a certain value for this coming,
something that can simultaneously accept and reject, despise and
respect, unite and destroy, the highest feeling. It is the highest
feeling, and it is - love: love - metaphysical.

So, one pan of the scales is exclusively a metaphysical
will, which we directly perceive in the feeling of love.
That is, I, as a subject of the world, have in myself the same thing that
have everything. One unified will operates in each individual
man, that small part in which he is involved with the whole
essence of the world and nature. So I don't care what he says
does, how he behaves, etc., another subject of the world, I am involved
with him metaphysically - he is my brother. On whatever ladder of social
he was not developed, this does not affect my sense of unity
with him. I do not evaluate the state of the other, which is expressed by the external
expression, as that it is either higher or lower: metaphysical,
we are all alike. I recognize, in this regard, the correctness of everyone, his
freedom, his attitude, to certain events, I am ready to help
him if he is in danger, if his life is in danger,
for this is required by the will to live, which is also in
me, as well as in another. I do not demand in return for my help to another, from
him, the same, for I helped myself in it. I don't
everything material is interesting, it is not metaphysical, therefore,
makes it impossible to grow in harmony with nature. I'm not afraid
to help your neighbor, as he cannot ask
I have more than what I have. No one in their right mind would
ask the poor for a million in loans. But if my neighbor
I need what I have available, and therefore, I will help him
or not, depends on its further development, then I will not hesitate to do
everything that depends on me, without demanding a return. I will lend him
and forget about this money, since I did not give them specific person,
but his will, his essence, his nature. The same goes for children:
after all, if a child asks for water, then who will give him a snake? - how
says in the gospel. I feel my identity with people, so
I love them all as myself, and do not demand from them
love me, because already by this fact, I got enough of that
what I need. When they treat me badly, I forgive it
to the one who did this, because I consider all kinds of insults,
not related to the metaphysics of will, because it perceives
everything directly, without distinguishing between good and evil.

That's why I go to people. Whoever they are, lest they themselves
represented, I go to them with the concept of the inner essence, which
devalues everything external. I swim in the ocean of the universe, and this ocean
consists of people: each person is a drop in the ocean of love, from
it consists of these drops. Excluding people from our existence, we
drop by drop, we drain this sea, remaining all alone,
thirsty. We, who are 70% water, cannot help being
she is our need.

I do not go with a feeling of love into the world; I am in harmony with him:
I have nowhere to go - it is always in me. I sacrifice material things.
Sacrificial gifts fall on the material scales. They go down
and I'm going spiritually up. I give the material to rise
spiritually. My inner space freed from the transient,
to be filled with the eternally abiding in me, from the very beginning of my
existence. My will expands and carries me upwards. I love,
and I find my highest feeling - a wonderful gift of the gods. I am together
with people and without them. I am useful, and I myself am useful. I'm becoming
who I was destined to be. When the spiritual overflows
content, then the spiritual part of the yoke rushes down (is emptied,
through the transfer of knowledge and experience), and the material bowl rises
up: “And I would not have received it now, during this time, in the midst of persecution, during
a hundred times more houses, and brothers, and sisters, and fathers, and mothers,
and children, and lands, and in the age to come, eternal life. (Mk., 10;
30).

Thus, as I aim down into metaphysicality, I
lifts up. My spirituality, my psychologism, my consciousness
- light and clear. In it I see everything differently, and it gives
me the absence of constant lust for the plural, but teaches
make do with what I have. Here, I understand my self, so
I become self-sufficient. I'm not alone. I am in the world and the world is in me.
Nature is my shelter, my family is my happiness, my children are my love.
The people around me are my brothers. I'm a man - in the metaphysical
sense.

Thus says the man who abides with the highest sense,
who realized his own metaphysical nature of will.
That is, he lives in harmony with nature, which prescribes
to a human being sacrificium intellectum (lat. donation
intellect), as Tertullian said. In other words, a person
intuitively enters open doors, avoiding closed ones. He is led
will, one might say, unconsciously for him, but it is, in fact,
better than breaking through a closed door, just hoping or
assuming that behind it is what was previously assumed,
- often, hopes and results do not coincide with each other.

“The world of spirits is nearby, the door is not locked, But you yourself are blind, and everything in you is dead. Wash yourself in the morning dawn, as in the sea, Wake up, this is the world, enter it. Goethe. Faust.

The tragic image of a superfluous person

Before considering Turgenev's Diary of a Superfluous Man
, I will give an example of one extra
person of the present. His name is John Von Aiken - General
Director of John Von Achen International (American teacher
(trainer) in the art of trading). Why is he redundant? Relative to
to people in general. This, the first condition, under which any person who extols
oneself in front of the rest of humanity can be defined by the category
- superfluous. How does this happen. We take the two statements of the above
"teacher". Here they are. (1) “Look at the people in Russia. You can
literally feel that many of them are unhappy, that they feel
themselves deceived (apparently, by themselves). They don't even notice
How is their life going? (2) “I don't teach people to be Americans.
In my seminars, I laugh at Americans: the USA is the country with the most
a large concentration of motivated idiots.” ("Rostov business
Journal". No. 21(5), 2005, p. fifty). That is, in Russia, he allegedly helps
unhappy. In America, he sees only idiots, using,
while words that are false and that come from the ability
reason to think in categories of benefits, or dialectically-heuristically.
Returning to his home in America, Sir John will speak absolutely
reverse things. So he will see all his life in other unfortunates,
whom he helps, but one day with a clear feeling he realizes all
the futility of your life. Here we are seeing an American phenomenon
called mission - a kind of ugly word that covers
pile of rubbish hiding underneath. “As long as a person lives,” writes
Turgenev, - he does not feel his own life; she like
sound becomes intelligible to him after a while. So
way, he is a lost man, as she correctly called such types,
in her poem, one young Russian poetess. Consequently,
he is a redundant person. Probably because "be useful
man always seemed to him a terrible disgusting ", how
Baudelaire would say.

A.P. Nikitin. I.S. Turgenev. 1957

Turgenev's superfluous man appears before us in human image,
who must die in two weeks, in view of his illness.
That is, Turgenev puts him in some time pressure,
which is expressed by the establishment of the date of death. Now, according to the author,
a person begins to reflect on his past life, which
remained in him - memories, experiences, sensations.
Thus, we see the manifestation of the process, so to speak,
"death self-knowledge", which brings to the surface the following
content: “The deeper I delve into myself, the more attentively
I consider my whole past life, the more I am convinced of the strict
the truth of this expression. Superfluous - exactly. Because people among
whom he existed, did not accept his victims, did not thank
for his charming attitude towards them, they did not love him the way he loved
them he. His mother "was a lady with character ... very virtuous
lady. Only I did not know a woman to whom virtue would bring
less fun. She fell under the burden of her virtues
and tormented everyone, starting with herself. For fifty years
her life she never rested, never folded her hands; she is forever
swarming and fiddling like an ant - and without any benefit, which
cannot be said about the ant. The restless worm sharpened her day and night.
Once he saw her completely calm, namely: in a coffin.
“Yes, it’s good, it’s good to finally get rid of the languishing consciousness
life, from the haunting and restless sense of existence!
Teacher Rickman is “a skinny and tearful German, unusually
a sad and fate-ridden creature that burned fruitlessly
languishing longing for a distant homeland. Terentievna - nanny,
trying to make the most of it in the end
himself. About what he exclaims: “O decrepit, yellow, toothless
creature! Am I not a man for you too! His friends - contacted
strange to him: “Whenever I came across them or
even visited them. They seemed to be embarrassed; they walking me
towards me, somehow not quite naturally smiled, looked at me
not in the eyes, not on the feet, as others do, but more in the cheeks,
hurriedly shook my hand, hurriedly said: “Ah! Hi,
Chulkaturin!”, immediately stepped aside and even for a while
then remained motionless, as if trying to remember something.
The old woman Ozhogina is a “stupid creature”. Ozhogin himself is not good,
nor bad. A long-faced young lady with a red and glossy nose - "all
drunk through and through with some kind of sour boredom and chronic failure.
The prince is "an empty St. Petersburg upstart and mirlifer". Yes, and in general:
“O people! Exactly, miserable kind!”.

In another story by Turgenev, Asya, the heroine, on the contrary, converges with
ugly, driven and poor girl. The rest of the girls
coming from noble families with which she was brought up, not
loved her because she “wanted the whole world to forget about her origin;
she was ashamed of her mother, and ashamed of her shame, and proud
by her." Be that as it may, in all the above cases, we have
dealing with various attributes of the relationship of various people to the external
world, to the world of human beings. Thus, it remains unchanged
the relation itself, while its attributes can be twofold
type: either contempt for wealthy people and love for the unfortunate
(contemptible), or love for the wealthy and contempt for the unfortunate.
Both are the result of selfishness. Need to elevate
oneself while humiliating someone else. How,
it is necessary for an extra person to achieve this absolutely anyway
- he is always right.

Sartre justified such an attitude to the world, using the example of Baudelaire
groundlessness of Baudelaire's consciousness, which he sought at any cost
hide from yourself. Roughly speaking, Sartre's Baudelaire fits well
into Turgenev's concept of "an extra person". "Nature scares him
(Baudelaire), writes Sartre, precisely because it reflects
groundlessness of his own consciousness.”
On the other hand, it must be clear to us that nature (its metaphysical
her will) is the foundation on which the superfluous person rests.
He must necessarily humiliate what he needs to become,
like we substitute a stool in order to replace
burnt out light bulb. That is, in consciousness there is a concept of sufficient
the basis of everything that happens in nature, but it is superfluous
of a person is reflected concretely - the basis is the earth on which
he stands towering over her. “Nature acted on me extremely,
but I did not like her so-called beauties, extraordinary mountains, -
Turgenev writes in "Ace" - cliffs, waterfalls; I didn't like to
she imposed herself on me so that she would interfere with me.

Nature is sin. Spirit is Satan. And both will give birth to doubts, distrust, anger. (Goethe. Faust.).

But already in the "Diary of a Superfluous Man", the author of which stands on
the threshold of death, in view of which only enlightenment of consciousness is possible,
available: “These twenty days are something warm, young
and fragrant, some kind of light stripe in my dull and gray
life. My memory suddenly becomes inexorably true and clear only
from the moment when, speaking with the words of the same ill-bred
writers, the blows of fate fell. He writes: "Spring, spring
goes! I sit under the window and look across the river into the field. O nature!
nature! I love you so much, but I came out of your bowels incapable of even
to life". Here we agree with Sartre who said that
nature is life. In this very nature, an extra person sees
my future life in the form of compensation for the fear of death. But,
again, nature appears beautiful in outward forms,
in the appearance of its manifestations, which delight the eye more than
its metaphysical understanding; that is, the essence of nature is not felt
directly in itself as something good, but, on the contrary, within
he lives sin and Satan (meaning - a conscious idea).

Therefore, the basis of the consciousness of the superfluous person is everything
the reality that surrounds him. The best of her, some upstart from
total mass, a certain head that poked out of the natural sea
to the surface to take a breath of fresh air in order to again
go under water, is, at the same time, an extra object of the world
in self-image. From here grow the roots of all kinds
confessions, striving for sin, for evil, for something intellectually
imaginary, which is inside a person. He perceives
all movements within himself are painful, he strives into society,
to people, expects recognition from them, if he does not find it, then leaves
into himself, gets frightened and pours out his insignificance in confessions (Augustine):
“I remember exactly that in me, even during this week, occasionally stirred
worm ... but our brother, a lonely man, again I will say, just
not able to understand what is happening in him, as well as what is happening
before his eyes." Since he does not want to do anything for others,
but dreams only of what others must certainly do
everything for him: they must love him, at least for what he is.
His existence, of course, justifies all his highest claims.
instead of a ram in a flock of sheep. And the more he is saturated with dislike
to the metaphysics of nature, the more he hates it, as something in him
himself, which hinders him, which he cannot even think about,
the more he becomes an exile, lonely and useless
being, that is, he goes in the opposite direction from the higher
feelings, it goes into materiality, objectivity, rationality
- in dissatisfaction. “In pain,” says Sartre, “he
puts himself in the position of a person who does not belong to this world.
And so love becomes for him an unnatural feeling, which
there is a disease.

“The misfortune of lonely and timid people - from timid pride - consists
precisely in the fact that they, having eyes and even widening them, nothing
do not see or see everything in a false light, as if through colored
glasses. Their own thoughts and observations hinder them at every
step." It is in every human being to seek the foundations
their actions and deeds; someone sees them in himself, and
to some, although they appear to be his own reasons,
but a certain external motive is added to this, which encourages
person to do one thing or another. The first is less dependent on the external,
than from himself, at the same time, behind the external he recognizes
some secondary value, which it makes no sense to deny, but
in the guide to action, the spirit of denying the external is included in the work
and visible. The second, on the contrary, sees in external motives the basis
their actions, that is, the reason. He kind of assimilates himself to
external objects and endows them with its subjective content:
his libido pours outward, into the object, for example, of love, which is natural
thus generates an internal expectation of the same inverse relation
and to him. Seen, thus, delights the superfluous person,
but pleasure is due to the deception of the senses: he is deceived,
therefore he enjoys, he lies, therefore he is satisfied.
After all, as Turgenev writes: “A lie is as tenacious as truth, if
no more".

Being in a state of illusory love, unconsciously superfluous
man needs the object of his desires to despise
his. The more he despises him, the more the feeling flares up in him.
love, the other side of which, in fact, resides
the metaphysical nature of this feeling. It reveals itself to be an evil that tears apart
and cuts all the charm of expectations. Although these expectations are imprinted
individual character extra person, they would just have
place in nature, as such, not escaping anywhere, always available
in understatement, in silence: “Another sublime Russian girl
so powerfully silent that even in a trained person such
the spectacle is capable of producing a slight shiver and a cold sweat." But not
Let's call the superfluous person "prepared". Not at all: an image
women frighten him more than a fiend. Woman like a consumer
the vacuum cleaner, without applying absolutely no effort to it, draws
all the insides of an extra person out in the form of libido, which is a bullet
rushes into the crucible of what frightens him so much since childhood.
Let us recall in this connection his attitude towards his mother and his powerful infantile,
childishly tender and youthful, loving attachment to the father, caresses
whose kisses are preserved in an extra person for life,
and even on the verge of death they seem to him the only bright
stains of his life. Even then, in childhood, it was laid
the beginnings of future narcissism: “Walking around the hall for a while,
I finally stopped in front of the mirror, took out a comb from my pocket,
gave my hair a picturesque sloppiness and, as sometimes happens,
suddenly plunged into the contemplation of my own face. Or
Sartre has a quote about Baudelaire: “With slow steps, a few
with a twisted, slightly feminine gait, Baudelaire walked along an earthen embankment
near the Namur Gate, diligently bypassing dirty places and, if
it was raining, hopping about in their patent-leather boots, in which
I enjoyed watching my reflection. Freshly shaved, wavy
hair thrown back behind the ears, in a spotless white shirt with a soft
collar, visible from under the collar of his long cloak, he looked like
both the priest and the actor. (Camille Lemonnier. See: Crepet
E. Op. cit. P. 166). Elsewhere, Sartre continues: "In Fanfarlo"
he admits that he looks in all the mirrors; it means that he
wants to find himself for who he is. However, in
care for appearance the desire to discover oneself from the outside, as a thing,
combined with hatred for everything given. After all, in the mirror he is looking for
himself, but the way he created himself. In the same way
the superfluous person considers himself in another object; that is, the object
is for him a mirror in which he sees himself, not
while noticing that the other object is wholly and entirely
from his own ideas about him, which, by definition, to
It has nothing to do with the object itself. He plans so far
from your feelings, from your inner world he's so passionately looking for
on the pier, the post to which you can tie your schooner,
not paying attention to the anchor that it contains, that even
not able to understand one thing - whether he is pleasant or not to the object, love
which he pursues with all his might. This thorn in his personality
rooted in him in the form of his innate temperament to such an extent
painful for himself, that, trying to wrest it from himself, he
and does not suspect the impossibility of carrying out such mockery
over nature. And it becomes even more painful for him when
in the external manifestations of the object, he notices its scornful
attitude towards his love: she (Liza) does not love him! Consequently,
he hates himself: “Fu you, my God! what an insignificant creature I am!”

But what are words? Words - no vale nada (worth nothing), like
Spanish speak. In fact, the words, especially the superfluous person,
there is dust, a screen behind which hides a grandiose sense of
exaltation. The world certainly needs to convey how hard it is for him
and difficult, but he is a special person because he overcomes himself
himself, overcomes great difficulties, struggles with his vices
and so on in the same vein. However, his attitude towards people from this
does not get better: for him, they remain rabble. Hard
me here to distinguish the superfluous person from the robber whom
crucified on the cross, and who spat with hatred, hanging on it,
crowd of onlookers crowded below, and showered her with curses. Judging
apparently, it somehow facilitates parting with the world: – parting
painful, absolutely undesirable. Therefore, life is loved;
but one's own life is loved, for another's life is despised. And if someone else's life
seems to him better than his own and, in addition to everything else,
if it somehow affects the existence of superfluous
of a person, then it is absolutely necessary to relegate it to the category of more
low and insignificant. As we see in the example of Lisa's love for the prince.
He is going to explain himself to the object of his desire, but in
the very moment when he is alone with this object,
his tongue ceases to function; then he's gonna run forever
from her, leaving, of course, a letter filled with reproaches - if
speak directly then love letter, as one of the forms of explanation
in love, to be sure, someone knew about it (wish that
he was pitied) - but, again, a new motive, a new justification,
a discount on a sense of justice does not allow him to complete the planned;
then he sacrifices himself, blessing Lisa for a happy
love that did not notice it at all; then he dreams of slaughtering
his rival, the prince, and already he, like a sweet dream, imagines
desperation of the object of love, but it turns out that there is no suitable place,
where it could be done. In short, he only wants
one thing: for someone to pay attention to him. Although it is not clear
what kind of attention should this be if a person carries in his head
such intentions. On the other hand, if he really was
an evil person, as he wishes (more on that below), then this can be
understand, but he is a completely kind person; after all, only good
and are tormented by constant doubts about the correctness of the choice of further
their actions. Dreams of future revenge for the superfluous man
much better than revenge itself, as he is prone to remorse
conscience (he is kind), that is, his ability to regret past
his deeds - quite concretely perceived by him mental
process. His mind thinks in terms of the future, he strives
forward, into achievements, into labors, and everything is ahead of him. As in "Dog
heart”, a predictor of the future in the circus, answered Sharikov
to his question about what is the most important event in his life.
“The most important event of your life,” she replied, “is ahead of you.”
So here, the constant striving forward is the fear of
what comes up from behind: the logic of the past frightens him more than torment
future hell, but, in this case, he hopes that God forgives
sinners, and he will definitely go to heaven, that is, whatever one may say,
the future is always good. The naive and groundless optimism that
legitimizes every sin in the present. "With what touching generosity
I will eventually reach out my hand to the deceived victim and say to her: "Insidious
changed you; but I am your true friend ... Let's forget the past and we will
happy!"

Words soar, and feelings bend down. And words without feelings are not recognized at the top. (Hamlet. Shakespeare).

––––––––––––––––––––––-

Notes

“Superfluous people” in the works of I. S. Turgenev

The definition of “extra person” in Russian literature means a certain socio-psychological type, the main character traits of which can be called dissatisfaction, mental fatigue, longing and disappointment in everything that life has to offer. The “superfluous person”, as a rule, cannot find a place for himself in society: secular entertainment only bores him; he sees no point in public service, where servility can be called the main virtue;

He also does not see the point in love. Literature owes the emergence of this term to I. S. Turgenev, the author of The Diary of a Superfluous Man (1850).

The critic V. G. Belinsky, in his article on the novel by A. S. Pushkin “Eugene Onegin”, writes about “superfluous people” that they “are often gifted with great moral advantages, great spiritual powers; promise a lot, deliver little or deliver nothing. It is not up to them; here there is a fatum, which consists in reality, with which they are surrounded, like air, and from which it is not in the power and not in the power of a person to free themselves.

Pushkin in "Eugene Onegin" develops the image of a "bored" person noble origin, not just satiated, but dissatisfied with life, unable to realize himself, at odds with both society and himself. This is how the image of the “superfluous person” was born in literature, which would later be developed by M. Yu. Lermontov in the novel “A Hero of Our Time”, as well as by I. S. Turgenev in the story “Asya” and the novel “Fathers and Sons”.

Herzen, in the article “Very dangerous!!!”, published in the Kolokol magazine in 1859, wrote: “The Onegins and Pechorins were absolutely true, they expressed the real sorrow and fragmentation of the then Russian life. The sad fate of a superfluous, lost man only because he developed into a man, then appeared not only in poems and novels, but on the streets and in drawing rooms, in villages and cities. […] But the time of Onegins and Pechorins has passed. Now in Russia there are no superfluous people, now, on the contrary, there are not enough hands for these huge smells. Whoever does not find a job now has no one to blame, he is really an empty person, a fistula or a lazy person. That is, a change in historical conditions required a change in the minds of the public. If earlier people who could not find a place for themselves in society were, as it were, a kind of reproach to this society, then in the 50s and 60s, during the rise of social democratic forces and pre-revolutionary excitement in Russia, reality demanded active, thinking , extraordinary, and most importantly ideological and at the same time active people.

Against the backdrop of these new historical conditions, on the eve of the most important transformations in the structure of the country, Turgenev writes the novel “Fathers and Sons” and the story “Asya”, where he perfectly reveals the images of “superfluous people” and their failure.

In both heroes of the story "Asya" (in Gagina and in N.N.), the reader can easily discern features that have already been encountered in the images of Onegin, Pechorin and Pavel Petrovich Kirsanov. These are educated, secular people, but unable to realize themselves, people with some kind of internal flaw. “It was just a Russian soul, truthful, honest, simple, but, unfortunately, a little lethargic, without tenacity and inner heat,” says N. N. about Gagin. Turgenev, with unsurpassed skill, depicted the features of an “extra person” in this artist, who does not have a single completed work. Also very characteristic is the episode when Gagin and N.N. got together - one for etudes, the second - to read, but instead "rather cleverly and subtly discussed how exactly it should work."

The love story of N.N. for Asya perfectly characterizes him as an extra person: he does not dare to fall in love with Asya, he thinks that he will not be able to connect his life with a seventeen-year-old girl “with her temper”, he is afraid to make an important decision and responsibility for it.

Comparing N. N. with other “superfluous” literary heroes, you can probably draw an analogy with Onegin, but at least Eugene did not love Tatiana, unlike N.N., who, in his declining years, said: “... the feeling aroused in me by Asya, that burning, tender, deep feeling, already didn't happen again."

Critic N. G. Chernyshevsky reacted to the appearance of the story “Asya” with the article “Russian Man on Rendez-Vous”, in which he completely criticized the behavior and way of thinking of the protagonist - N. N. Since Chernyshevsky’s article was written on the eve of serious social transformations, in a time when the revolutionary democrats were expecting a people's revolution, it is a letter in many respects categorical. The critic understood that Turgenev, in his own words, painted images of “the best of the nobles”, but, despite this, he realized that they, not capable of large-scale social actions, would save at the decisive moment, that they were not ready to take on the transformation of the national future, because they are afraid of responsibility.

The image of an extra person in the novel “Fathers and Sons” was embodied in Pavel Kirsanov, who, both in terms of “principles” and in his life history, is very similar to the “extra people” whom the reader has already met on the pages of “Eugene Onegin” and “A Hero of Our Time”: not without reason Bazarov calls it an "archaic phenomenon" in the fourth chapter. Kirsanov gave up his career for a woman, despite the admonitions of his colleagues and superiors; for ten years he had been chasing the “incomprehensible, almost meaningless”, mysterious, like a sphinx, Princess R. When he found out about her death, he stopped appearing in the world, went to live in a village where “he arranged his life for English taste, rarely saw neighbors and traveled only to the elections”. The elder Kirsanov, unlike his brother, was not interested in the life of young people, new trends in the social life of the country, did not seek to get closer to the representatives of the new generation, allowing them to "consider him proud."

Kirsanov is deeply convinced that “aristocratism is a principle, and without principles only immoral or empty people can live in our time”, he also believes that the English aristocrats, whom he, apparently, considers to be the standard ones, “do not concede an iota from the rights of their and therefore they respect the rights of others; they demand the fulfillment of duties in relation to them, and therefore they themselves fulfill their duties. The aristocracy has given freedom to England and is supporting her.” According to his views, moral norms created by aristocrats dictate life principles to all mankind.

Kirsanov believes that only immoral people can live without principles. At the same time, we see that his principles have nothing to do with his deeds: the life of a typical representative of an aristocratic society passes in idleness and meditation.

Turgenev believed that “accurately and strongly reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies”, he was sure that the poet should be “a psychologist, but secret, he must know and feel norms of phenomena, but to represent only the phenomena themselves - in their heyday or withering. Therefore, he very rarely allowed himself a specific authorial assessment of the action, character or phenomenon, he allowed himself, perhaps, only once, speaking about Pavel Petrovich after the duel: “... a beautiful, emaciated head lay on a white pillow, like a dead man's head. Yes, he was dead." This should be understood as a statement that there has already been a change in concepts, that the era of the elder Kirsanov is ending. The fact that shortly after the duel he “left Moscow abroad” emphasizes the fact that he himself understood his uselessness in home country, understood that life goes on apart from him, it is hard for him, “harder than he himself suspects”, although, as it seemed to him, he remembered his roots, since “he has a silver ashtray in the form of a peasant’s bast shoes on his desk” . It is no coincidence that in his parting words to loved ones, he recalls farewell “forever”.

Glossary:

what new did Turgenev introduce into the characterization of the type of superfluous person
who is the extra person
extra people turgenev

Question 41 S. Turgenev

The very term "L.ch." received wide circulation after the release of "The Diary of a Superfluous Man" (1850) by I. S. Turgenev.

Let's call now thematic signs of our hero - "an extra person". Most often it is almost a young creature. Only Dmitry Rudin will be a long-liver here, and even then his life in adulthood is given only as a sketch. This is a hero, of course, without a family (including dysfunctional relations with his parents), and unhappy in love. His position in society is marginal (unstable, contains displacements and contradictions): he is always at least somehow connected with the nobility, but - already in a period of decline, about fame and wealth - rather a memory, there is no estate activity, placed in an environment, so or otherwise alien to him: a higher or lower environment, a motive of alienation, not always immediately lying on the surface. The hero is moderately educated, but this education is either incomplete, or unsystematic, or unclaimed and even forgotten; in a word, this is not a deep thinker, not a scientist, but a person with a "ability to judge", to make quick but immature conclusions. The crisis of religiosity is very important, but it is the preservation of the memory of religious concepts, often a struggle with churchness, but also a hidden uncertainty, a habit of the name of God. There is always some pretension to be a judge and even leader of one's neighbors; a shade of hatred is required. Often - the gift of eloquence, skill in writing, keeping notes or even writing poetry. A developed inner world, feverish and inhabited by chimeras, which, however, in the general chaos, becomes the hero's "refuge" as opposed to conflicts in relations with neighbors.

Theme "l.ch." was widely reflected in the work of Turgenev, the extra person includes: Dmitry Rudin (Rudin), Chulkaturin (Diary of an extra person), Bazarov (Fathers and Sons), Hamlet (Hamlet of the Shchigrovsky district), Alexei Nezhdanov (Nov), Fyodor Lavretsky (Noble Nest ), Yakov Pasynkov (Yakov Pasynkov), Alexey Petrovich (Correspondence), Insarov (On the Eve).

Let's consider some of them:

Bazarov . Bazarov is superfluous in the spirit of his time. He is filled with marginality, he is all focused on his own Self, he has extremely narrowed the field of perception of life, a critical or skeptical attitude towards people turns into the notorious nihilism, expressed in the denial of the meaningfulness of human existence, the significance of generally accepted moral and cultural values, and the non-recognition of any authorities.

Yevgeny Bazarov studies the natural sciences, works hard in medical practice, and is sure that this gives him the right to disdain those who know life from other positions. He is often harsh, cynical, even arrogant with people, including those who seek to imitate him, who consider themselves his students. Since the followers of Bazarov do not have their own convictions, they are ready to imitate him, repeat everything that the idol will do or say. Bazarov turns out to be a “superfluous” person, not in demand in society. This is a tragic figure: he, like many in this era, did not find his destination, did not have time to do something necessary and important for Russia, and, having made a mistake in medical practice, he dies young. In the novel, Bazarov is a very lonely person, since he does not have true followers and like-minded people, which means that in nihilism, as in love, he failed.

The shocking and sharpness of the hero is explained by the fact that he himself does not know how to change what he does not like and what he rejects. It was also a phenomenon of the era when the aristocrats could no longer change anything, do anything, and the democrats would like to, but did not yet know what the path of Russia's development should be.

Gradually, Bazarov emerges as an actor in life, but not a true participant in it, a figure or a thinker. Depression, depression, complete denial of one's role sharply come through in Bazarov. The apotheosis of the "superfluous person" line in the novel will, of course, be the replica: "Russia needs me... No, apparently not." In the epilogue of the novel, Turgenev will show that neither the life nor the death of Bazarov in any way affected the fate of the heroes, the fate of Russia. No one follows his path, no one honors him as a leader - only the unfortunate man is remembered. Here a purely Turgenevian motive is born: there is no living presence of Bazarov, but the memory of him overestimates his role, the face of death turns Bazarov from a "giant" into a tragic legend.

Rudin . Another turn of our theme can be seen in Turgenev's earlier novel Rudin. Usually, the "extra person" in behavior and actions is quite decisive, but Rudin mainly reflects in this topic that our hero is a hero of words, not deeds. The longer they know Rudin, the sharper the dislike for him comes through. Genuine revelations are expected from Rudin's eloquence; if not an activity, then an act, but the hero is limited only by bright pathos with a very unclear meaning. General reasoning about the good, the development of abstract categories and concepts is Rudin's favorite style. The verbal element is a powerful environment in its own way, it envelops a person, wants to be a substitute for big world, but creates a world of tense chimeras. This can be seen in Turgenev's love stories: at one time, Rudin literally mutilated Lezhnev's love with his reasoning; having the concept of love (“the word”) in his mind, Rudin himself forcefully pushes himself towards love, but his soul always remains empty: “I am happy. Yes, I am happy,” he repeated, as if wanting to convince himself. Obstacles in love make Rudin cowardly, easily retreating from his words. The emptiness of the word for Turgenev is precisely the property of a marginal character.

Turgenev in this novel also shows how memory, time, and finally the death of the hero change his attitude towards him: the farther away from Rudin, the more powerless he is, the better feelings he evokes for himself. Lezhnev speaks of Rudin, whom he knew from the university, with captious dislike when he is near, and even can captivate the charming Alexandra Lipina; when Rudin is almost forgotten, expelled, and Lipina has become Lezhneva, lofty words are spoken about Rudin.

Finding no use for his strength, intelligence and talent, feeling unnecessary in Russia, he dies in Paris with a red banner in his hands during the revolutionary events of 1848. Rudin's pain is in the realization of his fate, he himself condemns himself to non-existence. "Barricades" is a desperate step, it even outwardly resembles a duel: knowing himself, Rudin chooses death.

The "superfluous person" is always unhappy. He does not know life at all, and his reflection is too strongly developed, which entails weakness, impotence, inability to act decisively. The hero is very focused on himself. The form of his self-expression in the work is a diary, confession, monologue, letter. The "extra person" always has an ideal, a dream. But there is always a conflict between the ideal and the real world, which makes the hero unhappy. I.S. Turgenev subjects his heroes to various trials, showing their inconsistency and indecision before the important actions that reality requires of them. But the writer is not indignant, he rather sympathizes with his hero, since his fate is tragic, he is deprived of mundane ideas that would reconcile him with reality and is forced to suffer, since there is no place for romance in harsh reality.

Composition

"The rapidly changing physiognomy of the Russian people of the cultural layer" - main subject artistic image of this writer. Turgenev is attracted to "Russian Hamlets" - a type of intellectual nobleman captured by a cult philosophical knowledge 1830s - early 1840s, past the stage of ideological self-determination in philosophical circles. That was the time of the formation of the personality of the writer himself, so the appeal to the heroes of the "philosophical" era was dictated by the desire not only to objectively assess the past, but also to understand oneself, to rethink the facts of one's ideological biography.

Among his tasks, Turgenev singled out two of the most important. The first was to create an "image of the time", which was achieved by a careful analysis of the beliefs and psychology of the central characters, who embodied Turgenev's understanding of the "heroes of the time". The second is attention to new trends in the life of the “cultural layer” of Russia, that is, the intellectual environment to which the writer himself belonged. The novelist was primarily interested in lone heroes, who especially fully embodied all the most important trends of the era. But these people were not as bright individualists as the true "heroes of the time."

One way or another, but all this was reflected in Turgenev's first novel Rudin (1855). The prototype of the protagonist Dmitry Nikolaevich Rudin was a member of the circle of N.V. Stankevich M.A. Bakunin. Knowing perfectly well the people of the "Rudin" type, Turgenev hesitated for a long time in assessing the historical role of the "Russian Hamlets" and therefore reworked the novel twice. Rudin, in the end, turned out to be a controversial personality, and this was largely the result of the author's contradictory attitude towards him.

What kind of person was Rudin, the hero of Turgenev's first novel? We get to know him when he appears in the house of Darya Mikhailovna Lasunskaya, “a rich and noble lady”: “A man of about thirty-five, tall, somewhat round-shouldered, curly, with an irregular face, but expressive and intelligent ... with a liquid sheen in fast dark - blue eyes, with a straight wide nose and beautifully defined lips. The dress on him was not new and narrow, as if he had grown out of it. So far, everything is quite usual, but very soon everyone present at Lasunskaya's will feel the sharp originality of this new personality for them. At first, Rudin easily and gracefully destroys Pigasov in a dispute, revealing wit and a habit of polemic. Then he shows much knowledge and erudition. But this is not what he conquers the listeners with: “Rudin possessed almost the highest secret - the music of eloquence. He knew how, by striking one string of hearts, to make all the others ring vaguely ... ". Listeners are also affected by his passion for exclusively higher interests. A person cannot, should not subordinate his life only to practical goals, concerns about existence, Rudin argues. Enlightenment, science, the meaning of life - that's what Rudin talks about so inspirationally and poetically. The force of Rudin's influence on the listeners, the conviction in a word, is felt by everyone. Breaking into the inert society of provincial nobles, he brought with him the breath of world life, the spirit of the era and became the brightest personality among the heroes of the novel. From this it follows that Rudin is the spokesman for the historical task of his generation in the interpretation of the writer.

The characters of the novel are like a system of mirrors reflecting in their own way the image of the protagonist. Natalya Lasunskaya is immediately seized by a feeling that is still unclear to her. Bassistov looks at Rudin as a teacher, Volintsev pays tribute to Rudin's eloquence, Pandalevsky assesses Rudin's abilities in his own way - "a very clever person!" Only Pigasov is embittered and does not recognize the merits of Rudin - out of envy and resentment for losing the dispute.

In relations with Natalia, one of the main contradictions of Rudin's character is revealed. Just the day before, Rudin spoke with such inspiration about the future, about the meaning of life, and suddenly we have before us a man who has completely lost faith in himself. True, the objection of the surprised Natalya is enough - and Rudin reproaches himself for cowardice and again preaches the need to do good.

Rudin's lofty thoughts, his truly quixotic disinterestedness and selflessness are combined with practical unpreparedness, amateurism. He takes on agronomic transformations from the owner of vast estates, dreams of "various improvements, innovations", but, seeing the failure of his attempts, leaves, losing his "daily piece of bread". Rudin's attempt to teach at the gymnasium also ends in failure. It was not only the lack of knowledge that affected, but also the free way of his thoughts. A hint of Rudin's clash with social injustice is also contained in another episode. “I could tell you,” Rudin says to Lezhnev, “how I got into secretary to a dignitary and what came of it; but that would take us too far…” This silence is significant.

The following words of Lezhnev, Rudin's antagonist, about the reasons for the isolation of the ideals of the protagonist from concrete reality are also significant: "Rudin's misfortune is that he does not know Russia ...".

Yes, it is the isolation from life, the lack of mundane ideas that makes Rudin an “extra person”. And his fate is tragic, first of all, because from a young age this hero lives only with complex impulses of the soul, groundless dreams.

Turgenev, like many authors who touched on the topic of the “extra person”, tests his protagonist with a “set of life criteria”: love, death. Rudin's inability to take a decisive step in relations with Natalya was interpreted by contemporary criticism of Turgenev as a sign of not only the spiritual, but also the social failure of the protagonist. BUT final scene novel - the death of Rudin on the barricades in rebellious Paris - only emphasized the tragedy and historical doom of the hero, who represented the "Russian Hamlets" of a bygone romantic era.

The second novel - "The Nest of Nobles" (1858) strengthened Turgenev's reputation as a social writer, an expert on the spiritual life of his contemporaries, a subtle lyricist in prose. And, if in the novel “Rudin” Turgenev denotes the disunity of the progressive noble intelligentsia of his time with the people, their ignorance of Russia, their misunderstanding of concrete reality, then in “The Noble Nest” the writer is primarily interested in the origins, causes of this disunity. Therefore, the heroes noble nest” are shown with their “roots”, with the soil on which they grew.

There are two similar characters in this novel: Lavretsky and Liza Kalitina. What are the life beliefs of the heroes - they are looking for an answer, first of all, to the questions that their fate puts before them. These questions are as follows: about duty to loved ones, about personal happiness, about one's place in life, about self-denial. Often, a discrepancy in life positions leads to ideological disputes between the main characters. Usually the ideological dispute in the novel is central. Lovers become participants in such a dispute. For example, for Lisa, the source of the only correct answers to any "damned" questions is religion, as a means of resolving the most painful contradictions of life. Lisa tries to prove to Lavretsky that her beliefs are correct. According to her, he just wants to "plow the land ... and try to plow it as best as possible." Fatalistic attitude to life determines its character is determined. Lavretsky does not accept "Lizina" morality. He refuses humility and self-denial. Lavretsky is trying to find the vital, popular, in his words, truth. The truth should consist "first of all in its recognition and humility before it ... in the impossibility of leaps and arrogant alterations of Russia from the height of bureaucratic self-awareness - alterations that are not justified either by knowledge of their native land, or by real faith in the ideal ...".

Like Lisa, Lavretsky is a man with "roots" that go back to the past. His genealogy has been mentioned since the 15th century. Lavretsky is not only a hereditary nobleman, but also the son of a peasant woman. His "peasant" features: extraordinary physical strength, lack of refined manners always remind him of a peasant origin. Thus, he is close to the people. It is in everyday peasant work that Lavretsky tries to find answers to any questions for himself: “Here only luck is for him who paves his path slowly, like a plowman furrows with a plow.”

The ending of the novel is a kind of conclusion life quest Lavretsky. It determines all the inconsistency of Lavretsky, makes him "an extra person." Lavretsky's welcoming words at the end of the novel to unknown young forces mean not only the hero's refusal of personal happiness, but its very possibility. It should be noted that the very point of view of Turgenev on the "superfluous person" is quite peculiar. Turgenev gives the same arguments as Herzen in justifying Rudin and, in general, "superfluous people." However, these arguments differ in determining the degree of their guilt. Turgenev rejects the path of salvation, "superfluous people" through violence, believing that no political changes can free a person from the power of the forces of history and nature.

Unlike Turgenev, Herzen condemns the "superfluous people" by the fact that, having broken away from their environment, they did not respond to violence with violence. The fact that they did not go to the end in saving the world and themselves. Dobrolyubov took a middle position in this dispute. He defined the position of Rudin and Lavretsky as truly tragic, because they collide "with such concepts and morals, with which the struggle, indeed, should frighten even an energetic and courageous person."