if possible with a conclusion. thanks in advance
1. Genre "Words about Igor's Campaign" is:1) life; 2) military story; 3) word; 4) chronicle?
2. Which principle is "superfluous" for classicism:
1) unity of place; 2) unity of time; 3) unity of action; 4) unity of language?
4. The line "The abyss has opened, the stars are full ..." belongs to:
1) Fonvizin; 2) Trediakovsky; 3) Sumarokov; 4) Lomonosov?
5. Match works and literary trends:
A) "Poor Lisa"; b) "Felitsa"; Vasya"; t) Svetlana.
6. In what literary direction was a peaceful idyllic life in the bosom of nature portrayed as an ideal:
7. In which work is the "Tale of Lomonosov" included:
1) “Journey from St. Petersburg to Moscow” by A.N. Radishchev; 2) "Monument" GR. Derzhavin; 3) "History of the Russian State" N.M. Karamzin; 4) "Captain's daughter" A.S. Pushkin?
8. Which characteristic does not apply to romanticism:
The division of genres into high and low;
contradiction between ideal and reality;
desire for freedom;
conflict between the individual and society?
9. The genre of what literary movement is elegy:
10. Which of the heroes of A. S. Griboedov’s comedy “Woe from Wit” owns the phrase: “He fell painfully - he got up great”:
1) Lisa; 2) Chatsky; 3) Famusov; 4) Sophia?
11. Who wrote that in the comedy "Woe from Wit" by A.S. Griboyedov "25 fools for one healthy
thinking person, and this person, of course, in contradiction with the societies, his
Surrounding":
1) IA. Goncharov; 2) A.S. Griboyedov; 3) A.S. Pushkin; 4) V.G. Belinsky.
1) G.R. Derzhavin; 2) N.M. Karamzin; 3) V.A. Zhukovsky; 4) A.N. Radishchev?
13. From which country did the hero of A. S. Pushkin's novel "Eugene Onegin" return to his estate?
Vladimir Lensky:
1) Germany; 2) Italy; 3) England; 4) France?
What is the poetic size of the novel by A.S. Pushkin "Eugene Onegin"
1) anapaest; 2) trochee; 3) dactyl; 4) iambic?
What was the name of the estate where M.Yu. Lermontov spent his childhood?
1) Lermontov; 2) Tarkhany; 3) Boldino; 4) Streshnevo?
16. What is the story of M.Yu. Lermontov "A Hero of Our Time"
is the latest chronologically:
1) "Bela"; 2) "Maxim Maksimych"; 3) "Fatalist"; 4) "Princess Mary"?
17. Which epigraph was taken by N.V. Gogol for the comedy "The Government Inspector":
1) "Oh rus ... Oh Rus'!";
"Take care of the dress again, and honor from a young age *"
“There is nothing to blame on the mirror if the face is crooked”;
"And the smoke of the fatherland is sweet and pleasant to us"?
18. What work is not included in the St. Petersburg stories of N.V. Gogol:
1) "Portrait"; 2) "Marriage"; 3) "Overcoat"; 4), "Carriage"?
19. Match the titles of the works and their authors:
“Russia cannot be understood with the mind...”;
"Poet and Citizen";
"No, I'm not Byron...";
"I came to you with greetings...";
a) M.Yu. Lermontov; b) F.I. Tyutchev; c) N.A. Nekrasov; d) A.A. Fet.
What was the name of the heroine of the story by I.S. Turgenev "First Love":
1) Anastasia; 2) Zinaida; 3) Elena; 4) Tatyana?
Which writer was called "Columbus of Zamoskvorechye":
1) A.P. Chekhov; 2) N.V. Gogol;
3) A.N. Ostrovsky; 4) I.S. Turgenev?
22. As determined by the FA/. Dostoevsky genre of "White Nights":
Which work is “superfluous” for A.P. Chekhov’s “little trilogy”:
1) "Gooseberry"; 2) "Ionych"; 3) "About love"; 4) "Man in a case"?
illustrations for individual descriptions. 2) How is the attitude of a person of Ancient Rus' to God, faith, divine commandments shown in the story? 3) What brings together the images of the snake and the images of the boyars and their wives? How are these images different? 4) Find in the story: (a) features of legend and tradition; (b) features of folklore genres (fairy tales, riddles). 5) Prepare an exhibition of the Legend of Kitezh in the visual arts using reproductions of paintings by N.K. Roerich, A.M. Vasnetsov, M.V. Nesterov, I.S. Glazunov and other artists. Please help me, I always understood everything, but I can’t please, I beg you. I will be very grateful.
Aristotle in "Poetics" defined the hierarchy of dramatic effects in the following order: in the first place is the plot, then the hero, then the dialogue, music and spectacle. (In the story, style can be taken as the equivalent of music, but it is difficult to talk about the spectacle at all). Forster did not agree with his opinion, who believed that the hero is more important than the plot, and Henry James noted that the plot and the hero are one.
« What is a hero, if not an element that determines the event? And what is an event, if not an illustration of a hero?
(Henry James)
Authors often state that their next novels fall into one of two camps: hero-oriented works or plot-oriented works. A strong enough hero can transform into a pseudo-self-sufficient life, which can be so energetic that it will lead the author through the twists and turns and surprises of the plot. Traveling with such a guide can be pleasant, because you never know what awaits us around the next corner of the road. However, if the plot, as someone said, is a footprint left in the snow by our heroes, then the effect of such trampling on their tracks can only be dirty, wet slush. It is not enough for the hero to wander back and forth in our story without any apparent purpose; we need some other scheme, a model, as well as some kind of change that occurs in the hero at the end of the story being told. In monotonous soap operas, most often there are characters who do not learn anything from their own experience, and constantly trample around in circles until they are killed by the screenwriter.
Less risk of falling into such a trap creates a plot-oriented story, where the characters function as cubes that can be put into place. Making the construct more important than the hero can weaken its veracity, and although it is sometimes said that the hero seizes the initiative (if something like this happens to you, it's better to register for an appointment with a doctor right away), real fluidity and liveliness of action can be achieved only then when instinct and intuition are allowed to guide the palm of the writer. Also, as in most other things, the key to success is to maintain balance.
Hero identification
Heroes are interesting not only because of who they are, but primarily because of what they do. If we analyze this statement, we can come to the conclusion that it is not so much the actions of the hero that arouse interest, but the EXPECTATION of these actions: and what will he / she do NOW? As we showed in Chapter 3, a storyteller is someone who asks interesting questions and puts off answering them "until later." Let me remind you that these questions can be of two types: suspense and mystery.
How does the magic of suspense and mystery work? How to make sure that an annoyed reader does not throw away the book, or does not immediately look at the last page? Every writer is faced with this question: he must make the reader patiently wait for an answer, and this expectation is pleasant for him. How to achieve this? It is necessary to stir up his emotions to such an extent that he begins to worry about the fate of invented characters, and then put them in situations so interesting and confusing that they arouse interest and sympathy.
The main thing is not a richly formed action and not contradictions, but a sense of identification, self-identification. The reader will allow himself to be drawn into the whirlwind of events only when he will be excited by the person whom these events concern, that is, he will somehow be able to identify himself with this hero.
Empathy and sympathy
Identification occurs due to two important elements:
1. Empathy
Based on recognizing something important in the hero. You can be empathic with every literary hero, because, as I said, all these heroes are basically human, even if they appear in make-up. This will continue until the first non-human reader in the history of the world is found. Until that moment, literature will always be for people and about people.
2. Sympathy
It means that you like what you are dealing with, that you love it and identify the pleasant parts of yourself with the pleasant parts of others.
It also means that your protagonist (i.e., at least at least he) must have something convincingly human and attractive about him. Characters equipped with atypical emotional attributes subject the reader's empathy to a severe test, while characters who are unambiguously negative may not evoke the required empathy, because the reader will not be able or will not want to identify with them. Deprived of the possibility of self-identification with the hero, he will see him for what he really is: words on paper in which there is no more life than in ink dots and commas.
But in that case, what about the anti-heroes, the Hannibal Lecturers of the imaginary world? The fact is that even such an anti-hero as a bandit, whom we hate with pleasure, must have some positive character traits. For example, it can be power, charm, intelligence, aristocracy. Take, for example, an extraordinarily intelligent fan of art and serious music - there is something in each of us that makes us, even if against our will, be surprised and admired by someone like that, even if he is a psychopathic serial killer. But attention: the hero cannot be a manic person, otherwise all empathy will immediately evaporate!
The reader must be carried away by the story being told, and this happens due to the fact that at a certain level he begins to compare the events in the story with his own experience and say to himself: “Yes, everything is exactly like that.” We identify ourselves not so much with a specific detail as with the fundamental human condition of a given hero. Therefore, we cry over the fate of I.T., yearning for his planet, and shed tears when the mother of the deer Bambi dies - and in fact, in principle, we have nothing to do with them. We feel connected to them on an emotional level, we care about their problems, because we recognize ourselves in them - and this is empathy.
authenticity
The human nature of our heroes, human or not, must be authentic. Because the reader - old, young, wise or stupid - is a real person. He knows what laughter, crying, hope are, he knows what is going on in the head, and will be identified only with what is real in literature. The present is not in terms of facts, but in terms of what is most important, what Nathaniel Nauthorne called "the truth of the human heart."
« We all know that Art is not truth. Art is a lie that leads to the fact that we begin to realize the truth, at least the truth that we are given to understand.
(Pablo Picasso)
How to make a hero real
What needs to be done to make the characters seem real? How to create an imaginary image of a person so that it is alive, convincing, and as if descending from the pages of a book? So that the reader can easily identify with him and worry about his fate? Such a hero, to some extent, must free himself from the authority of the author, gain partial independence and independently lead the plot - sometimes in an unexpected direction.
Characteristics of the hero
It is based on adding visual features and biography to the hero. Often this is the starting point from which the collection of information about the characters participating in your story begins. How do they look? What are their biographies? What zodiac signs were you born under? What do they like and dislike? It is worth organizing for yourself brief characteristics of at least those more important heroes, writing down as many of their personal characteristics as possible. Things that touch the past: what schools did you go to, did you have a full family or not? All this is of great importance in shaping the life path of real people, so if you want to create a "live" hero, he must be a person and have his own past.
Characterization of the hero is extremely important, but often overestimated by novice writers. If we confine ourselves to listing the specific details of this hero, then we will get only a set of words that have nothing to do with a living real person. Therefore, although such a characteristic serves to present the reader with a general image of the hero, such a view created with the help of superficial information - which in the story is nothing more than an analogue of gossip at parties - will not remain in memory for a long time. The author, who gives the reader nothing more, basically requires the reader to simply memorize the list. But lists are hard to remember.
How the story is read
Now let's think for a moment - how is the story read? It would be easiest to assume that the consumer of a literary work has an emptiness between the right and left ears, and the writer's task is to fill this emptiness with concrete facts. However, if everything were so simple, then everyone, having read this book, would have the same details in their heads. But in fact, everything is completely different - the easiest way to find it is by watching a film made on the basis of a work known to us. Sometimes the characters are just right (for example, Humphrey Bogart, who played Harry in the film based on Hemingway’s To Have and Have Not, I think he was perfect for this role), and sometimes we just can’t understand how the director could to take such an actor for this role. We imagined this person differently. And who is right here? Both he and we, because the purpose of fiction is not to convey facts - that is what other areas of literature do. The writer has much more freedom.
« Artists are people who are not interested in facts, but only in the truth. Facts come from outside. Truth comes from within."
(Ursula Le Guin)
The story develops in the thoughts of a particular reader, which is usually beyond the reach of the writer. And due to the fact that people are infinitely diverse, there is an infinite variety of perceptions of this story. The writer, at best, can send out certain stimuli (signals?) and hope that they will evoke an image that is not too far from intentional. Information overload can be an element that makes visualization difficult, because the more accurate the image we want to convey, the more the reader must restrain his imagination in order to remain in agreement with the given facts.
I will try to describe this with an example. Images are born in the reader's brain at the speed of light. If you are completely absorbed in reading a story and read the phrase: “A girl entered the room,” an image of a girl immediately appears in your mind, although rather vague. What you imagine will probably be completely different from the image invented by the author. If you read further that the girl was accompanied by a dog, you will probably imagine some particular dog. If after that you find out that the girl was walking on crutches, you will have to modify your visualization to a large extent, because it is impossible for you to imagine exactly this at the very beginning. The more information you receive, the more you must change the initial image. Concentrate for a moment, and imagine the girl according to what you have learned so far. And now I'll tell you that she has a blue dress with white polka dots, white socks, that she is freckled and has a wide smile. Yes, and she's still eight years old. To imagine such an image and modify it many times is an extraordinarily difficult task for our imagination. Sometimes the mind refuses to register the next data, and until the very end we do not realize that the heroine is eight years old, because at the beginning we imagined that she was five years old.
What to do in such a situation? If we intend to direct the reader's imagination in the direction we need, then we cannot do without the characterization of the hero. I would personally recommend two possible options. The first is based on conveying as many details as possible at the very beginning of the story. For example: “A girl of eight years old entered the room, leaning on crutches. She was accompanied by a spaniel. Later, as the action develops, you can now and then throw up details, but it is better to avoid information that would force the reader to radically revise what is already imaginary.
Another solution to the problem is based on limiting the amount of information. If the fact that the dress is blue with white polka dots is of no special significance, then it is not worth mentioning at all. We are interested in the truth of the girl, and not some small facts. We can dress the heroine as we like, but if this does not cause some later misunderstanding, it is worth leaving freedom to the reader in this respect. In my story "Twenty - Twenty", I generally refused to describe the main characters. Is it because of this that the reader cannot understand how they look? I hope not, I believe that the pair of main characters, William and Julia, appear before him alive and real. And if it seems to one reader that Julia has red hair, and to another that she is blonde, then there is nothing wrong with that.
Why, then, engage in the description of their heroes? Why describe as many details about them as possible? This behavior benefits the writer, not the reader. Naturally, you will use some of these characteristics of the characters later in the text, but most of them will remain under the surface, as happens with an iceberg. However, if you don't collect all this information, you won't be able to predict how a given hero will behave in a given situation. In other words, you will not know their characters.
Don't be nervous if you can easily imagine the secondary characters and the main character is still a big mystery. In life, it also happens that it is easier for yourself to remember the face of someone you know only with a hat, but the most difficult thing is to imagine your own face. Well, since all the heroes in a literary work are, to some extent, particles of the author himself, it follows from this that the hero closest to us turns out to be the most difficult for us to describe. Don't worry: appearance is not important, personality is important; not character, but character.
Character
More important than surface information is knowing what kind of person your character is. From this point of view, literature is no different from life: we judge specific people, using characteristics as pointers. But after all, it often happens that when we get to know a person better, we change our initial opinion about him. In that case, who is this person? A first impression, or someone we have come to know in a particular action? This is the difference between characteristic and character.
Screenwriter Robert McKee defines character simply as "the choices we make when under pressure." In a certain way, the plot can be taken as a variant of the literary pressure cooker in which we cook using high pressure. The core of the story is always some kind of conflict - no matter if it is serious or small, personal or global. The conflict puts people in a difficult situation, and people, being under pressure of circumstances, show their true colors.
In disaster films, one of the main elements is the clash of characterization with character. At the beginning of the story, a certain Mr. Success gives advice to everyone around, but when the tension rises, he panics, and reveals himself as Mr. Save - I - I'm afraid. Having got rid of seductions, the priest finds God, the quarreled husband and wife reconcile, the weakling turns out to be a hero. The real character is manifested during critical decisions, i.e. making a choice under the influence of a situation.
McKee has said that scriptwriting is based on:
1. Feature selection
2. Indication of character
3. Change of character for better or worse.
Let's not forget that the story is a kind of journey. It is not enough just to subject your heroes to different tests if in the end they turn out to be the same as they were at the beginning. In this case, it will be a journey leading the reader to nowhere. However, as I said in Chapter 3, the change that the hero experiences (i.e., the “turn”) at the end of the story does not have to take place only in his inner world.
Seven Techniques for Creating a Hero
1. Description of appearance.
2. Opinion of the narrator.
3. Action.
4. Associations.
5. Representing the thoughts of the hero.
7. Thoughts and opinions of other characters
An eight-year-old girl entered the room, leaning on bamboo crutches. The expression on her face said that the girl was trying to hide some disappointment. The elderly spaniel accompanying her looked up at her with watery eyes, and the girl crouched down to hug him to her chest. The small silver cross she wore around her neck dangled between them on a chain. My birthday toy, she thought bitterly. - I want to go home…
I miss mommy and daddy, she whispered.
I doubt that Vietnamese children celebrate birthdays, someone replied. They're all Buddhists, right?
Appearance description
"An eight-year-old girl entered the room, leaning on bamboo crutches." Description of appearance is perhaps the most popular technique for creating a character. Its effectiveness is based not on the QUANTITY of the given details, but on their QUALITY. I chose to show bamboo crutches rather than a blue dress with white polka dots, because they are more unusual, and in a real situation they would be the first to catch the eye. The main advantage of describing the appearance is its compactness - you can say a lot in a few words. The disadvantage is that it is static, because something has to happen in the drama. Static elements in it play a secondary role, so it is better to combine the description with the action than to submit it separately and at once in its entirety. Hence, in my case, the information that the girl is lisping appears only after a few sentences. The rules of Victorian literature required at least a few paragraphs to characterize a character, and that has its charm, but the modern reader, who has limited patience, demands action, and action means something is happening.
Narrator's opinion
“The expression on her face said that the girl was trying to hide some kind of disappointment” - this phrase is the opinion of the narrator. The character of the girl turns out to be outlined more expressively: she experienced some kind of disappointment, and the fact that she is trying to hide her emotions tells us about her more developed psyche than for her age.
Action
"... the girl knelt down to press him to her chest." This is an example of the operation of the third technique. Showing a character in action is much more dynamic than a static description of his appearance, and therefore gives a more lively effect. Especially if it is an action that represents the climax of a decisive choice (and for a child it IS a decisive choice because the girl is under the pressure of the situation), and through this much more can be said than with even the most detailed explanations.
Associations
This technique is more subtle. It is connected with the place of action and the material elements of this situation, which may have certain nuances regarding the hero. For example, a movie star who leaves a nightclub under the glare of camera flashes is associated with fame and success. Jesus entering the city on a donkey, with humility. The expression "the little silver cross she wore around her neck" is descriptive because it makes us guess that the girl is a Christian, but it also evokes certain associations, especially when combined with the watery eyes of a spaniel. Our heroine has a soft heart, and is a spiritual person.
Representation of the hero's thoughts
It has a special value: people can lie to each other, but they do not deceive themselves, at least they do not do it consciously. The words "my birthday present" and "I want to go home" confirm that the girl is disappointed and reveal the reasons for this disappointment.
The speech of the hero also explains a lot to us. “I yearn for mommy and daddy” - this phrase deepens the characterization of the heroine. We'll talk more about dialogue in Chapter 7.
Thoughts and opinions of other characters
Thanks to them, you can get a different perspective, which is especially useful when there are certain contradictions between the worldview of the hero and the worldviews of other characters. “I doubt that Vietnamese children…” - this phrase not only tells us where the girl came from, but also more clearly shows the reasons why she feels so alone: not only is she in a foreign country, but no one here understands her .
Motivation
You will truly know your heroes only when you know how they will behave in a forced situation. And you will know this when you become aware of their motivation. What do they really want? Save your own skin? Get someone's favor? Win a girl? In the world of literary imagination, everyone strives for something, and when these aspirations collide with each other, or they cannot be realized, then there is a conflict.
Often the basis of dramaturgy is the discrepancy between personal and official motivation. In forced situations, our personal, secret motivations are revealed; and when it turns out that they diverge from what we officially declare, there is a dramatic tension. A character who does not experience any internal conflict is more likely to be uninteresting and flat. The choices he makes do not deepen his characteristics at all, therefore he remains just as small in himself.
When you already know what your character wants, you also know what he doesn't want. This knowledge is truly invaluable for the author, who is forced to play the role of an obstacle course builder, because thanks to this knowledge he will be able to select the appropriate kind of obstacles. If the protagonist wants to be rich, he should be robbed. If the heroine wants to feel safe, fire her from her job. In extreme cases, what a character does not want can turn into a phobia, which Orwell used with remarkable results in 1984, putting a character who is afraid of rats in a room full of these rodents.
representation
Characters in literary work are artistic creations, representations of living people. In order to fully reflect the complexity of human nature, one would have to write an infinitely long book, even longer than Proust's In Search of Lost Time. Unlike living people, literary characters must be whole (even if they have conflicting character traits) and understandable, which is not always the case in real life. By providing the hero with more than one dominant character trait, you run the risk that your story will not fulfill one of its main tasks, that is, will not make the unknowable understandable. Readers don't want cartoons, they want literary characters whose behavior is understandable to the reader.
In turn, by bringing the characters too close to living people, you, paradoxically, risk making them less real. It's like putting actors on stage without makeup. Instead of looking natural, they will appear pale and ghostly. People in the story should be outlined more expressively and painted with brighter colors than in life. They must react more sharply, be more convincing and less complex internally than people of blood and bone. Because they are not people, but only literary images.
Try to find the golden mean. Using bright colors does not mean that your character is wearing overly flashy makeup. What matters is the elegance of the means: sometimes "less" can lead to "more" in the end result. If you overdo it, you will get an archetype instead of a character (or a typical example), or a stereotype (that is, a simplified example).
Archetypes and stereotypes
Archetypes are typical examples of people of a certain kind. Most often, archetypes appear in myths and allegories, but their symbolic appearance allows them to be successfully used in prose. If you want to make it clear that in your work there is some deeper meaning behind the elements of the presented world, that a particular character, in principle, should mean a whole society, or even the whole world, you should turn to the archetype. The archetypal hero gives the impression that he rises far above ordinary mortals (or falls far below them), which is well illustrated by the example of Ellie Fox from Paul Theroux's Mosquito Coast, who constantly displays almost superhuman abilities. Archetypes can pull the reader out of the sense of reality that the author intended to evoke in him with his story, so, as a rule, minor characters are archetypes.
The stereotype has all the faults of the archetype, and none of its virtues. He is a simplified version of a certain type of hero, who, not only is presented extremely superficially, but also often looks like a bright neon sign. Stereotypes are too flat, they have as much depth as a blank sheet of paper.
Heroes are multidimensional and flat
In the past, readers were content with a one-dimensional characterization of a hero, or simply a caricature. However, modern tastes give preference to multidimensional heroes, at least when it comes to the main characters. Heroes secondary and episodic should be deprived of this depth to a certain extent, because otherwise they will distract the reader's attention from the protagonist and the main action.
« It's good when the author can immediately hit with full force, and a flat character in these circumstances can be very useful. He does not need to be repeatedly introduced, he does not run away anywhere, you do not need to follow his development, he himself creates his own atmosphere around himself. Flat characters - they are like luminous disks of certain shapes, sliding here and there in a vacuum or between stars. Very efficient.”
(E. M. Forster)
Dickens was a master at using flat characters. No doubt they should be used for ironic effect, but attention: if Dickens's main characters were stereotyped, he would remain only one of the forgotten writers of the Victorian era, because with a flat protagonist, the whole story becomes flat. A one-dimensional character is suitable for a secondary, additional plot; the stereotypical hero creates problems. Literary heroes arouse the interest of readers only when they seem "alive", when they "live" in the process of identification. It is impossible to identify oneself with a flat hero, just as it is impossible to identify oneself with a mannequin.
When creating a one-dimensional character, one must be aware of its schematic nature. Beginning writers, often without realizing it, create complete or partial stereotypes. The reality of a multi-dimensional hero is often called into question when he begins to react stereotypically. In such cases, the hero becomes sketchy, as if he was constructed somehow, with complete disregard for the reader. When creating a hero, bright make-up is needed, but excessive emphasis on his character will not only not make the character more interesting or recognizable, but will turn drama into pantomime, and tragedy into farce.
Archetypes and stereotypes are found only in literature, and never in life. People are not as predictable as we think. At the heart of the drama is a discrepancy between expectations and what actually happens (i.e. literary "surprise"). Characters that move along certain paths without turning left or right will not only seem unrealistic, but simply boring. In literature, this discrepancy between expectations and reality is a source of dramatic tension: the question "will I succeed or not" has long promised an interesting story.
Knowing Yourself - Knowing Your Heroes
A writer can create a living literary character only when he knows him absolutely. A good writer is not only a smith of words, but also a psychologist, because in the end the depth and believability of the characters he created reflects his knowledge of human nature.
You can understand others only if you can see the world through their eyes and understand their feelings as if they were your own. Empathy is the basis of the craft of writing. An author who does not have it will create only flat characters. The limited ability of empathy limits the possibilities of the writer: only those of his characters who belong to the same type of people as he will be real.
How can a writer expand his possibilities, how can he “move into” different characters? How did Shakespeare manage to create Hamlet, Juliet, Lady Macbeth? Did he suffer from multiple split personality? Don't think. Without a doubt, he used the richest sources available to him - it is clear that not from the local library, but from the reserves of his own mind.
The human mind is the most complex structure in the universe, at least as far as we know it: the most modern computers are only trying to replicate the way it functions, not to mention intelligence. The human imagination has no limits, or at least it can come up with thousands of characters. If you think that Shakespeare was exceptional in this respect and your imagination is much more limited, at least remember your dreams. Are you dreaming of anything? I do not believe.
Shakespeare didn't have to go insane to create King Lear, but he had to get to the part of himself that belonged to the madman. Experts say that the figure of King Lear shows the mechanism of the destruction of the psyche in an unusually convincing way. How did Shakespeare know him? Or did he visit insane asylums and stand in line with other onlookers to laugh at their idiotic tricks? It cannot be ruled out, though I doubt he was laughing. However, far more important than such external observation must have been an internal analysis, a journey deep into oneself, in search of that particle that was King Lear. Each of us has such a particle in which you can find everyone: a madman, a child, a queen.
So, how can you recognize your heroes? You have to look inside yourself, because everything is there. Every literary character - just like every image from a dream - is part of the writer. If it were not so, then it would be impossible to invent it. Heroes come from your head, and no one else's. Knowing yourself - you know your heroes.
« The writer's knowledge of himself, true knowledge and free from romantic seductions, is a source of energy from which he is forced to draw his whole life: one single, correctly used volt of this energy can revive any literary character.
(Graham Greene)
Love the characters in your story
To make readers experience, you must first experience everything yourself. If the reader must worry about the fate of your characters, then first you yourself need to worry about them, which means that you must feel both empathy and sympathy towards them. Your emotional dedication to this character, especially when it comes to the main character, is simply necessary; if you treated him with contempt, then this could negatively affect the whole story, and alienate the reader from it. Naturally, the protagonist can make mistakes, can be bad, two-faced, proud - but you have no right to despise him.
If you cannot love the characters in your story, then at least try to like them a little. You have to be fully aware that no matter how you make them, there is always something special about them - their humanity. If you cannot love them, then there will always be a distance between you and your characters, and the reader will feel it.
« It seems to me that the writer should always treat with love the inner experiences of the story and its characters; he should not use them only as illustrations, but empathize with their experience.
(Malcolm Bradbury)
A story with a key
The story with the key is based on the literary characters of real people. The original must be easily recognizable to the reader, hence the name for this type of story. It should contain pointers that allow you to discover the hidden meaning. An example of such a work is Aldous Huxley's "Counterpoint", where in one of the characters we recognize D. H. Lawrence. Here I use this term to define the various ways in which authors obtain authentic examples for their literary needs. This option has its advantages and disadvantages. The advantage is that already at the very beginning of the creative process, we know quite a lot about our heroes.
The main problem of the story with the key, contrary to the opinions of many people, is not the possibility of inadvertently ridiculing someone. Even if someone recognizes himself in your book (which is unusually rare, because only a few can see themselves through someone else's eyes), it will rather flatter him than offend him. The disadvantage of borrowing characters from real life is the fact that it limits the writer's ability to use his own imagination. If a fictional character has to do something that his living original would never do, he may refuse to obey the author. A certain level of pseudo-autonomy is a good sign, but a rebellious hero is not likely to help create a meaningful plot. In the end, this author always remains the boss - he may depend on the muse, but he commands the heroes himself.
It is clear that you need to use in your writing work the people you meet in life, but rather as a starting point for work, and not as a model for copying. Many of the characters I created had their origins in real people, but later I let them develop on their own, or combined several different people into one fictional character.
« It can be useful to look at a person with squinted eyes, and carefully outline only some of his personal characteristics. We are not talking about achieving a complete similarity - this, by the way, is simply impossible, because a person is truly himself only in special everyday situations.
(E. M. Forster)
The same restrictions apply to the use of one's own biography for the needs of the literary imagination. If the demands of the dramaturgy order to change the facts of your life, and you resist such an abuse of reality, you may find yourself trying to sit on two chairs at once: a novel and an autobiography.
Life is usually not as clearly defined as a story that has a beginning, a middle, and an end. And even if it were, for literature it would be interesting just as much as the events of this life were unusual. At times it is difficult to imagine, especially when our past is only of interest to ourselves, and what seems important to us may seem banal to the reader.
« A writer who deserves this title does not describe. He invents or imagines on the basis of his own experiences, or some experience. Sometimes it seems to us that he possesses some kind of mysterious knowledge, the sources of which go back to the forgotten experience of clans and tribes..»
(Ernest Hemingway)
Try to do it
1. Prepare a list of the main characters in your story and write down their characteristics. Consider both their appearance and biography. Don't forget things like special features, clothing style, education, family, upbringing, and elements that may have influenced this character's personality as a child.
2. In order to arouse interest, the hero must experience some kind of internal conflict - on the first of the planes of antagonism. What inner conflict might your protagonist be experiencing?
3. A character who has some flaws or oddities looks more real and often causes more sympathy. What signs of that kind does your character have?
4. What is the basis of the contradiction between the characteristics and character of your protagonist?
5. What changes (for better or for worse) will the characters in your story undergo?
6. What forces determine the actions of the main characters?
7. We learn the real character of the character first of all in moments of stress (when the obstacles facing him force him to make a decisive choice). Based on the examples below, write a 300-word test characterization for each of the selected characters. Use at least three of the character description techniques described earlier.
An old woman receives a letter from her son. In it, the son suggests that she move into a nursing home. The woman is against it.
A businessman is late for work, stuck in a traffic jam.
Late at night, a cart appears on a rural road, pulled by a horse. The young girl who drives the cart falls asleep. Her blow wakes her up - when the lantern hung on the wagon went out, they collided with another wagon. The only horse owned by her family died.
If you want to check how Thomas Hardy handled the last example, read section 4 of Tessy d'Uberville.
Topics that reveal the student’s attitude to the hero of a literary work can be formulated in different ways: “Which of the heroes (work) is closer to me and why?”, “My attitude to the hero (to heroes) of the work”, “My favorite literary hero”, etc. .P.
Compositions in which students directly express their attitude to literary characters should be preceded by experience in characterizing a literary character. We start writing essays-characteristics from the 5th grade, mastering such theoretical and literary concepts as “portrait of a literary hero”, “hero’s speech”, “author’s attitude to the hero” (author’s position) in the process of text analysis. Comparative characteristics of the heroes of one work are the next stage of work on the literary image.
With the literary and age development of students, we increase the context of comparison (comparison of literary heroes of different works of art, eras, trends, heroes of Russian and world literature), complicating the goals and objectives of the work. So, the topic proposed in the 8th grade “My attitude to the heroes of the story by I. S. Turgenev“ Asya ”in the future, at the next stage of literary development, can be developed in a broader, philosophical context. For example, in line with D.S. Likhachev’s reflections on the originality of the Russian character: “One trait, noticed long ago, really makes Russians misfortune: to go to extremes in everything, to the limit of the possible, and at the same time in the shortest possible time ... Russia, thanks to this The line has always been on the verge of extreme danger - this is beyond any doubt, and in Russia there was no happy present, but only a dream of the future replacing it.
At the initial stage - the characteristics of a literary hero, the expression of one's attitude towards him - such works, as a rule, do not cause great difficulties for students. Nevertheless, the most common mistake in writing them is the absence in the work of a direct characterization of the hero, which would motivate the attitude expressed towards him. Often a student is in a hurry to express his opinion, skipping an important stage of work - reflection on the image of the hero, attention to the author's position - which are possible only on the specific material of the analyzed literary text. In order to focus the attention of students on the disclosure of the images of heroes, we will somewhat change the traditional topic: instead of “My attitude towards the heroes of the story by I. S. Turgenev “Asya”” - “The heroes of the story by I. S. Turgenev “Asya” and my attitude towards them ".
Focusing on the characteristics of the hero, relying on the material that the text provides (portrait, speech, actions, the attitude of the author to the hero), help the student to avoid unreasonable assessments, superficial judgments. In real life, this contributes to the development in students of such qualities as observation, the desire for objectivity when expressing their own opinions.
Since any creative work in literature is directly related to the analysis of the work, directly or indirectly motivated by its nature, goals and objectives, we recommend referring to the materials of the textbook for grade 8, ed. V. G. Marantsman, as well as methodological recommendations for the textbook, which will help the teacher plan lessons on the work.
As experience shows, students read the story with interest: the topic of human feelings and relationships is interesting for teenagers. The main difficulty is the understanding of the image of the main character of the story - Asya and the feeling of the lyrical leitmotif of the story - "happiness has no tomorrow."
The naturalness and openness of nature, the strength and fearlessness of feelings, the ability to respond with the heart to everything that happens in life, are far from always close to the consciousness of a modern person: quite rational, pragmatic. Understanding the uniqueness of the meeting, "instant", which fate gives a person only once and for which he is most often not ready, like the hero of Turgenev's story, is not close to a 13-14-year-old reader. And this is explained not only by his small life experience, but also by a different worldview of a person of the 21st century who lives in the era of virtual reality: everything can be replicated, repeated, scrolled like in a movie, duplicated. Uniqueness, uniqueness, originality as characteristics of certain life situations, feelings, relationships are denied today as such. Mass culture puts forward an alternative thesis: everything is repeatable, reproducible, replaceable. Attempts at self-expression most often ultimately lead to unification - since initially they are based on a veiled desire to "be like everyone else."
The essay “Heroes of I. S. Turgenev’s story “Asya” and my attitude towards them”, on the one hand, is a work of an educational nature, the purpose of which is to teach students to express their attitude to literary heroes, actively involving a literary text to argue their thoughts and feelings (reliance on the characteristics of the image), on the other hand, it allows students to better understand the characters of the characters and the author's position in the work, to rethink the actions of the characters and their attitude towards them.
Below we present the work of students, accompanied by a brief analysis and recommendations for further work. We selected essays that differ in terms of the level of mastering the material, the style of reflection. They will help to see how the process of working on an essay is going on for different students. All of them are given without stylistic corrections, although almost every one contains speech errors, shortcomings, which, in our deep conviction, reflect the inaccuracy, first of all, of the thought itself.
Heroes of the story by I. S. Turgenev "Asya" and my attitude towards them
1. Draft of Olga Pantyukhova's work.
In the story of I. S. Turgenev "Asya" there are three main characters: Asya, Gagin and N. N.
Gagin is a nobleman, an educated person. He played the piano, composed music, painted pictures - in general, he led a secular lifestyle.
He considered his paternal sister Asya "kind, but with a troubled head." "It's hard to get along with her," he said. “You need to know her well in order to judge her!”
Asya was not tall, "graceful built, but as if not yet fully developed." Her hair was black, "cut and combed like a boy's", her face was swarthy, round, "with a small thin nose, almost childish cheeks and black eyes."
She was very mobile, “not for a single moment did she sit still; she got up, ran away and ran again, sang in an undertone, often laughed, and in a strange way: it seemed that she laughed not at what she heard, but at various thoughts that came into her head. Her large eyes looked straight, bright, bold, but sometimes her eyelids squinted slightly, and then her gaze suddenly became deep and tender.
N. N. was a free-thinking man, not bothering himself with anything, an ordinary nobleman who left to travel "without any purpose, without a plan"; "He lived without looking back, did what he wanted, prospered, in a word." He was interested in traveling most of all in faces, "living, human faces - the speeches of people, their movements, laughter - that's what I could not do without," he said. He liked N.N. to be in the crowd, to communicate with people. He often passed off all his fleeting hobbies as serious feelings, therefore, perhaps, he failed to correctly address Asya, to understand her when she wanted to confess her feelings to him. He behaved tactlessly, accusing Asya of what she did not think about, and even more so could not do: “You did not allow the feeling that was beginning to ripen to develop, you yourself severed our connection, you did not have confidence in me, you doubted in my..."
Thus, when I read the story, I still thought about the question: why did fate not connect the heroes, why did it all end like that? So unexpected and sad? After all, there were no barriers for the heroes, they could influence their own destiny.
Here only an act, done or not done on time, plays a role. N.N. was to blame for the fact that everything turned out this way. He had a chance at the moment when they met Asya, and at the moment when he decided that "tomorrow he will be happy." But “happiness has no tomorrow; he does not have yesterday either; it does not remember the past, does not think about the future; he has a present - and that is not a day - but a moment. And N.N. missed his happiness. His frivolity ruined his fate. And he himself, having already lived his life, realized this, “condemned to the loneliness of a familyless bean”, “... what happened to me? What is left of me, from those blissful and anxious days, from those winged hopes and aspirations?
Turgenev's story "Asya" is a story about unfinished love, an irretrievably gone hope for happiness.
This work is the result of the student's attentive attitude to the text of the work, active participation in the analysis.
We see that the character of each of the heroes of the story as a whole is recreated correctly. The portrait of Gagin is not fully drawn in the work. Although he does not play such a significant role in the story compared to other characters in the story, his image is ambiguous. When characterizing Gagin, it is important, on the one hand, to note the irony with which the author speaks about his studies in painting (and in this superficial attitude to art, Gagin and N. N. are close), on the other hand, to emphasize Gagin’s sincere attitude to the fate of Asya, the ability to understand her dissimilarity to others, to accept her as she is - which N.N. is not capable of.
Asya's portrait is drawn in sufficient detail, but devoid of appreciation. It remains not entirely clear how the author of the work relates to Asya, what associations the image created by the artist evokes. It is also necessary to think about how best to include her portrait in the essay. Some significant episodes of the narrative were missed in the analysis: “why people don’t fly”, the waltz scene. Turning to these episodes would help to "hear" the melody of love in the story, to join the style of the author's narration.
The advantage of the work is, of course, the reliance on the text of a work of art, the skillful introduction of citations. But the "size" of each quote must be reduced to a minimum, which reflects the essence of thought.
The introduction leads directly to the topic of the essay, but is stereotypically devoid of a dialogue setting. The final part of the work successfully reflects the general meaning of the story, but does not reveal the reader's position of the student. There are speech errors.
2. Draft of Viktor Lukyanov's work.
All of you have probably heard about the work of I. S. Turgenev "Asya" or read this story. This work is known to very many due to the fact that what is written in it is very close to reality. This is not some simple romance. This is a life where actions are so natural that sometimes it seems as if the writer did not invent the story, but he only transferred to paper what happened in life.
N.N. is an ordinary young nobleman who is looking for something new, while not having a specific goal in life.
Asya is a young girl who is interested in everything. She is honest and in many situations does not know how to behave.
N. N. fell in love with Asya, and she fell in love with him, it seemed that everything should go well, but this work is too similar to life for it to have such a happy ending. After all, a person's life cannot be perfect.
He is a nobleman, but she is not, what will happen after the wedding? He will lose everything, and this fear took over love, and they parted.
Despite the fact that the heroes parted, N.N. continues to love Asya with his heart. And in the end, love conquers fear, but it was already too late. And nothing remains but sadness. And she wiser and warms his heart.
The characteristics of the heroes are given too generally, although their main features are correctly captured. The logic of reflection is interesting, according to which “Asya is honest”, therefore, in many situations she does not know how to behave. At first glance, it is illogical. But, if you think about it, a “natural” person does not have “blanks” of behavior for different life situations. It would be interesting to develop thought in this direction.
It is necessary to supplement the characterization of the characters: to emphasize the uniqueness of Asya, to highlight N.N.'s attitude to life at the beginning of the story, to say a few words about Gagina; compare heroes. Enter small quotes that accurately and figuratively characterize each of the characters. Is it possible to prove in the text that N.N. prevented her from marrying Asya because of her non-noble origin (this is stated in the work). The work does not clearly express its own attitude towards the heroes of the story.
The introduction outlines the dialogical nature of the narrative, but it is not further developed. On the whole, what has been written is a sketch, an outline for future work. Lack of reliance on the text habitualizes reflection, impoverishes thought.
It is necessary to develop independent thoughts, actively involving for this the text of the work and the results of the analysis.
3. Draft of an essay by Golubeva Svetlana.
The main character of the story is Asya: short, gracefully built, short black curls, black eyes. Although her name was Anna, for some reason everyone affectionately called her Asya. She was seventeen years old. Dexterous, agile, even seemed a little daring, and her whole being "sought for the truth." She believed that "flattery and cowardice are the worst vices."
In this story, a trusting, sweet, unlike other girl, attracts the attention of a young man - I.N. She gives rise to conflicting feelings in his heart. The hero of the story himself cannot fully understand his feelings for Asya, because he has never had a serious relationship with girls of her age. I think that before meeting Asya, N.N. was even cynical about girls. Soon he began to forget his wrong feelings. And yet it seems to me that N.N. is a frivolous, windy person, incapable of real feelings. He was too amorous, careless, because all his life he did not bother himself with anything. As he tells about himself, he "lived without looking back", "did what he wanted." It never occurred to him that he couldn't live like this. Much later, the hero will understand that "youth eats gilded gingerbread, and thinks that this is their daily bread, but the time will come - and you will ask for bread."
Gagin is an unusual person. There is something "soft" in his whole appearance: soft curly hair, "soft" eyes. He loves nature, art, although he clearly did not have the patience and diligence for serious painting. But at the same time, he strongly and sincerely, like a brother, loves Asya, worries about her fate.
After listening to Asya's confession, N.N. does not appreciate her act, and even pretends that she is indifferent to him. Asya is at a loss, in despair, she is losing faith in everything that was so important to her. She had to endure and endure a lot. After all, she was so afraid of this disappointment, but it overtook her. Asya is naive, she still does not know how difficult and cruel life is. The heroine evokes in me pity, sympathy and understanding. At the end of the story, N.N. admits that in fact he never experienced such feelings for anyone as for Asya: “The feeling was burning, tender and deep only then. No! Not a single eye looked at me with such love!
N. N. loses Asya. She remained in his memory as the very girl he knew her at the best time of his life and as he saw her for the last time. He realized too late what a mistake he had made. “Tomorrow I will be happy,” he thought. But "happiness has no tomorrow"...
In the work, one can feel the “capture” of the student by the feelings of the heroine. It is no coincidence that she writes that she understands the heroine.
Here we clearly see the "complicity" of the work of art with the psychological dominant of age - the experiences of the first love. The inner state of the heroine at the time of the meeting with N.N. is accurately understood: Asya “loses faith in everything that was so important to her.”
The characters are well described. The transition to the characterization of Gagin was not entirely successful. There is no comparison with N. N. and conclusions. Good choice of quotes. Unfortunately, some important episodes of the story are not mentioned in the work, so the author was not entirely able to recreate the poetic atmosphere of the narrative, convey the "music" of the text, which, of course, impoverishes the analysis of the story. Apparently, this layer of the work was somewhat ignored by the student. The focus is on the plot.
4. Draft of the work of Anikin Stanislav.
At the lesson of literature, we read the story of I. S. Turgenev "Asya". I am very sorry that Asya and N.N. did not stay together. If N.N. did not live "tomorrow", then they would be happy.
Asya had an unusual appearance. Almost childish cheeks, black eyes, a small nose. She was gracefully built and resembled a Raphaelian Galatea. Her inner restlessness, her desire to show off confused N. N.. She laughed, then she was sad: “What a chameleon this girl is!” But he liked her soul.
Gagin, Asya's brother, loved to draw, but all the paintings remained unfinished. With his love for nature and art, he lacked industriousness and patience. It is no coincidence that when describing one of the walks of Gagin and N.N., when Gagin decided to "work", Turgenev notices that the characters started talking with such pleasure, as if they were doing something useful. But, despite the author's ironic attitude towards the "artist", we see that Gagin was capable of sincere love for his sister, worried about her fate.
During the date, Asya was like a “scared bird”. She was trembling, and at first N.N. felt sorry for her, her heart "melted" in him. Then, remembering Gagina, N.N. began to shout at Asya and gradually became more and more cruel. Asya did not understand the reasons for his cruelty. I.I. knew that he was deceiving her. Asya rushed to the door and ran away, and he stood "as if struck by thunder."
N.I. loved Asya. If he had only said one word, they would have been together. Fear tormented him, vexation gnawed at him. He felt regret, remorse. How can you marry a seventeen year old girl! And at the same time he was almost ready to tell Gagin about it and decided to postpone it until tomorrow. "Tomorrow I will be happy!" But "happiness has no tomorrow" ... Critic N. G. Chernyshevsky wrote that all Russian "Romeos" are like that.
In general, the student correctly grasped the meaning of Turgenev's story. The work contains episodes from the text, quotations, Chernyshevsky's point of view. But it is difficult for a student to logically link micro-themes, to move from text reproduction to independent reflection. Obviously, one's own attitude towards the characters is not sufficiently expressed, there is no involvement in the world of a work of art, in the world of the author and characters. That is why in the work so little attention is paid to the experiences of the characters, their feelings.
With all the shortcomings - the work is quite independent.
It is necessary to turn once again to the materials for the essay, to think over the proposed questions.
5. Draft of the essay by Uliana Karpuzova.
The heroes of Turgenev's story "Asya" aroused conflicting feelings in me. It's a little hard for me to understand how I feel about them. I will try to think about it.
At first, it was not clear to me why Asya changes so much throughout the story. At the beginning, the author describes her like this: “Her large eyes looked straight, bright, bold,” “her gaze became deep and gentle,” “her movements were very sweet.” “There was something restless in all her movements,” by nature she was “bashful and timid.” She was gracefully built and resembled a Raphaelian Galatea.
Even N. N. notices something strange in her, or rather, unusual. The reader gets the feeling that each chapter describes a different girl. Either she is a peasant woman, or a funny child, or a secular young lady, or a woman who loves with all her heart. Asya is different, but always sincere. The heroine changes roles, remaining herself. Sincerity always shone in her big black eyes.
I noticed that Asya is very different from Gagin and N.N. There is something restless in her. Maybe this is a quick-tempered, impudent, constantly changing character, or maybe blood, in which there is both the simplicity and tenderness of a Russian woman, and the obstinacy and spoiled secular young lady. Feeling any feelings, be it love or hate, she experiences them to the end, deeply, with all her soul. I think that this is what distinguishes the "Turgenev" girl from all the others. Asya is very close in spirit to me, I understand her every movement, look, words. I think we even look alike.
In Gagina I see a friend. A simple, interesting young man, a funny artist and a caring brother.
I have a completely different attitude towards N.N. He seems to me bold, sensual, but not capable of a decisive act. He is curious, loves to travel, meet different people. But his trouble is that he is afraid of his feelings.
Gagin and N.N. are similar. They are always interested in being together. They find common topics for conversation. N.N. describes one of these conversations as follows: “Having talked to the full and filled with a sense of satisfaction, as if we had done something ...” He, as if with irony, emphasizes the invariable feature of the Russian soul - love of conversation.
We wonder why Asya and N.N. don't stay together. It seems that there are no obstacles for their relationship. Asya on a date was trembling "like a frightened bird", she could hardly hold back her "tears". All of her was so touching and helpless at that moment.
She sincerely loved N.N. and was ready for anything for the sake of love. And N.N. felt sorry for her, his "heart melted", he "forgot everything." But at some point he becomes bitter and begins to reproach her, knowing that he is deceiving both her and himself. “I am a deceiver,” he says later, when he admits his mistake.
“Tomorrow I will be happy”... These words become fatal for N.N. If then he had not trusted his mind, but relied on his heart, everything would have ended differently. It's strange how just one act can forever deprive us of happiness.
It seems to me that the bitter fates of the heroes of the story teach us to trust our feelings and always trust our hearts.
A distinctive feature of the work is the author's lively "participation" in the fate of the heroes and a mature, independent attitude to their actions. Sympathy for the heroine of the story, discovery, recognition of oneself in her stimulates the creative imagination of the student, which is especially noticeable in the analysis of the portrait of the heroine. The student managed to understand the motives of N.N.’s actions, to “dissolve” feelings and reason in his description.
Unfortunately, important "poetic episodes" were missed - the waltz scene, the dialogue between Asya and N.N.
6. Draft of an essay by Daria Zakharova.
In the story of I. S. Turgenev "Asya" we are talking about the fate of three main characters: Asya, N. N. and Gagin. When reading two other stories by Turgenev, "First Love" and "Spring Waters", I came to the conclusion that the writer takes his main characters through a test of love. What a person is in love - such a person he is.
In the story "Asya" I have the greatest sympathy for the heroine Asya, because she is closer to me in spirit. She is not like everyone else. She gives me mixed feelings. On the one hand, this is understanding and sympathy, but on the other hand, indignation and even indignation for her impudent, unpredictable behavior. Asya's portrait changes throughout the story. She seems to be trying on different roles. In the beginning, she “did not sit still for a single moment; got up, ran into the house and ran again. Then she decided to play a new role - "the role of a decent and well-bred young lady", then Asya chooses the role of "a capricious girl with a forced laugh." But most of all I was surprised by the image of a “simple girl”, almost a “maid”. At the end of the story, I see a completely different Asya - a woman who loves with all her heart, ready for anything for her love. Despite all the unpredictability of Asya's behavior, I consider her a kind, sincere girl.
I have a different attitude towards N.N. He was an independent man, he liked to travel without any purpose, without a plan. At first he lives as if in an idyll: he is slightly in love, he is also interested in new faces. After meeting Asya and Gagin, he begins to foresee happiness. N. N. peers at Asya, at her graceful movements, at “the most changeable face” that he has ever seen, and for some reason begins to feel annoyed. He is annoyed by the fact that he involuntarily constantly thinks about Asa. He does not think about the fact that happiness is close, but he is not ready for love.
It seems to me that N. N. and Gagin are similar. They were interested together, they had common topics for conversation, because they were from the same noble circle, both were young and did not differ in particular diligence. In Gagina, I see a caring brother who goes to great lengths so that Asya's heart is not broken.
In order to understand the feelings of the main characters, you need to analyze the date scene. Asya on a date “trembles like a frightened bird,” and I.N. feels bitter. After an unsuccessful date, having abandoned Asya, N.N. suddenly realized that he loved her, began to squander oaths and confessions into the blackness of the night, now he was annoyed with himself. “One word... Oh, I'm crazy! This word ... I repeated it with tears ... among the empty fields ... but I did not tell her that I love her ... Yes, I could not pronounce this word then. When I met her in that fateful room. I did not have a clear consciousness of my love; it did not wake up even when I sat with her brother in a meaningless and painful silence ... It flared up with irresistible force only a few moments later, when, frightened by the possibility of misfortune, I began to look for and call her ... but even then it was too late ".
Happiness postponed until tomorrow turns out to be impossible. "Tomorrow I will be happy!" But “happiness has no tomorrow; he does not have yesterday either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment.
It is gratifying that the author of the work read and mentioned other stories of Turgenev about love, which indicates an interest in the writer's work. The student writes that the heroine of the story is “close in spirit” to her, but, unfortunately, she does not fully reveal this relationship of souls, just as the whole appearance of Asya is not fully outlined in the essay. Here one feels not a lack of understanding of the heroine, but simply “unspokenness”: the intuitive and emotional attitude towards the heroine is not fully clarified in her thoughts, not quite realized. On the whole, N.N.’s attitude towards Asya is clearly indicated: the hero “refuses” happiness. To a small extent, the content of the work was influenced by the textbook article, but on the whole the work is independent. It is interesting to note that the choice of all the guys who used the textbook material fell precisely on the phrase about the “idyll” in which the hero lives before meeting Asya, and on the idea that the hero does not notice that he is “on the threshold of love”.
Apparently, this choice can be explained not so much by the desire to confirm one's own thoughts with someone else's successful comparison, but by the desire to express one's thought beautifully, as in a book. The very style of student essays does not give us grounds to speak of the lack of independence of the work.
Left out of sight, as in many other works, the theme of music and "flight" in the story.
7. Draft of Vadim Ryzhkov's work.
It is difficult to find a person who has not read or, in extreme cases, has not heard of Turgenev's "Ace". She, like, for example, "Poor Lisa" by Karamzin, has turned over time into a kind of symbol. It is worth pronouncing the title of the story, as everyone immediately understands that we are talking about a sad love story. The beautiful turns out to be impossible. It becomes sad and light because love passed very close, touched and left. Such experiences are called "romantic".
First, you still need to read the story "Asya" very carefully. Secondly, to reflect on it, forgetting about the initial mood. Before I read the story, it seemed to me that Asya was another fairy tale about oaths and tears.
It turns out that Turgenev is realistic here to such an extent that you get scared and believe every word. The protagonist N. N. looks like a non-fictional character, so the author, I think, partially describes himself, his friends, contemporaries in general. Yes, I.I. is a thinking, reasonable person of the XIX-XX-XXI centuries. The hero is 25 years old, he has traveled all over the world, has a position in society, was once carried away by a young widow. But, having met Asya, a young seventeen-year-old girl, for the first time he truly fell in love.
There is sympathy between them. Asya expresses it sincerely, openly. She "doesn't know how to pretend." And N.N., on the contrary, hides his love. He is trying to be noble. He indulges Asya without understanding himself. The hero until the last page of the story cannot decide on an offer. N. N. lies to himself and does not doubt the correctness of what he is doing.
The problem of N.N. is not in a different social position between him and his beloved. It seems that happiness is so close. It is possible. I.N. says “I love her,” but he himself is afraid of his feelings. I think the characters are so different! They would have to show limitless patience to live together. N.I. is afraid of love and Asya's explosive temperament.
In the last lines of the story, the hero feels slight regret and nostalgia for failed love. It seems to me that Asya deserves more pity, and not N.N. Of course, N.I. is also worthy of sympathy, because what is it like “to stop in front of the door behind which happiness stands and not open it because of your own fears and emotions.”
The work stands out sharply for its "literary quality". The student seeks, as it were, to distance himself from the narrative, choosing the role of a literary critic. It is interesting that in the story the student most of all likes the “realism” of images and narration. The individual manner of thinking reveals a real reader in the author of the work. With all the roughness of some phrases, the expressed thoughts are interesting and independent.
Unfortunately, important episodes of the text are not analyzed, the characters are not described in as much detail as the theme requires.
But the general background of reflection is quite broad, self-sufficient, and interesting.
8. Draft of Nikolai Yakushev's work.
Turgenev's story "Asya" was read by many in the class easily and quickly. I liked her too.
The protagonist of this story N.N. did everything he wanted. It never occurred to him that "man is not a plant and he cannot flourish for a long time." Nature had an extraordinary effect on him. He traveled without any purpose, without a plan, stopping wherever he liked. He felt a burning desire to see new faces. That's how he met Asya.
But Asya was very unusual. Even in N.N., she aroused a contradictory feeling. He spoke of her like this: "What a chameleon this girl is," "the most changeable face that I have ever seen." Asya was gracefully built. She had large black eyes, a small, thin nose, and childlike cheeks. And there was a kind of insolence in her whole being.
“She wanted ... to make the whole world forget her origins; she was ashamed of her mother and ashamed of her shame,” Gagin said about Asa. The “wrongly started life” developed “wrongly”, but “the heart in it did not deteriorate, the mind survived”.
Gagin is a nice young man. He loved Asya like a brother. When N.N. went on a date with Asya, all his thoughts got mixed up in his head. For a long time different feelings struggled in him. “I can’t marry her,” N.N. decided.
On a date, he saw Asya, who was trembling like a frightened bird. He felt sorry for her, but when he remembered Gagina, he behaved differently. N.N. walked and talked “as if in a fever”, reproached Asya for something.
Then this bitterness was replaced by annoyance at himself: "How can I lose her?" "Crazy! Crazy, he repeated to himself. N.N. decides that "tomorrow he will be happy." But “happiness has no tomorrow; he does not have yesterday either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment.
The next day, Asya left, and N.N. realized that he would never see her again. If on the same night he would have said just one word to her! .. "One word ... I did not tell her that I love her."
N.N. had such a feeling only for Asya, and he never had such a feeling again in his life.
The student knows the text well. The student contrasts N.N.’s “commonness” and Asya’s “unusualness,” but does not develop this idea further.
In the essay, one feels the student's empathy for what he writes about, the sympathy of the author of the work for the heroes of the story. Unfortunately, the key episodes of the story and the author's position were ignored.
Apparently, the student did not have enough zeal for a more detailed analysis of the characters and actions of the heroes. Quotations are probably used from memory, which indicates a good knowledge of the text and the ability to grasp the main thing. The conclusion also needs to be finalized, since it is not directly related to the purpose of the work.
9. Draft of Alexander Drozdov's work.
Here I read the last page of Turgenev’s story “Asya”, and I begin to sort through everything in my head, remember how I treated the heroes of the story at the beginning of the work, and how at the end, and immediately I have a strange feeling and the question: “Why is everything Are the heroes unhappy? Now I will try to think about it.
Asya - the main character of the work - looked very unusual. She was gracefully built, had large black eyes, and short curls framed her face. “I have not seen a more mobile creature,” N.N. said when he saw Asya. Her life was very tragic: she is the daughter of a serf peasant woman and a landowner. After the death of her father, Asya found herself left to herself and began to think about her position early. And for the first time she encountered such a feeling as love. It inspires her, gives her new strength, but remains unanswered. The man she fell in love with, Mr. N.I., is weak-willed and indecisive, he was afraid to show her his feelings, although he often thought about her. He liked her, but her determination repulsed him. On a date with Asya, N.N. begins to blame her for everything. He spoke as if "in a fever": "It's all your fault." And then he admitted to himself that he was deceiving himself and Asya.
Her brother Gagin, a young handsome man, took care of Asya and loved her like no other, but he is not the main character in the story, although he tried to help Asya and N.N. find happiness.
"Tomorrow I will be happy!" - N.N. said so, but he did not yet know that “happiness has no tomorrow; he does not have yesterday either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment.
If everything were so simple!.. After all, life is one, and you need to live it in such a way that you don’t regret something later. Each person has his own happiness, but it is not always taken seriously. If you have found your happiness, then you need to cherish it and never let it go, then everything will be fine. We create our own lives and our own happiness.
The author of the work is a rarely writing student. The word is given to him with difficulty. Interest in the story, reflections of classmates in the lesson prompted him to take up the pen himself. Note that the student accurately conveys the psychological states of the characters (“the feeling inspires her”, N. N. “deceived himself and Asya”, etc.).
The author of the work transfers what he experienced in a literary text into real life. At first glance, this “naive realism” is repulsive, but, on the other hand, this frankness reveals the inner world of a student who practically does not speak in class and reads very little, but here, although straightforward, he tries to project a rethought (see the beginning works - “I sort through in my head”) into my own life.
10. Draft of the essay by Tamara Fedoseyeva.
Turgenev's story "Asya" left me with sadness and tenderness. The story filled my soul with sadness, and the question involuntarily sounded: why did N.N. do this? Why did Asya leave the next morning? Why are the characters not together?
Asya is an unusual girl who feels and experiences everything a little differently, not like an ordinary secular girl. She is not afraid of her feelings. Asya is very brave and sincere.
Asya's appearance is unusual, as is her character.
N.N. is an ordinary nobleman who left the capital only to forget his next hobby, which he passes off as true love. N. N. lives for tomorrow. He thinks that tomorrow he will be happy. At the end of the story, these words sound in two tenses: present and past. And only after living life, he begins to understand that she was wasted: balls, light hobbies.
But nothing compares to the feelings that he had for Asya, for this strangely changeable girl with an unusual character. N. N. attracted her to Asya lively mood, a face that changed every minute, not like masks instead of faces at balls with secular ladies.
N.N. depended on the environment where the relationship was feigned, and everything was so sincere with Asya that he simply could not help but fall in love with this open girl. It seems to me that this characterizes him as a person who can truly feel, understand, empathize.
Gagin is a pleasant young man who loves Asya like his own sister. He loved to draw, play the piano, which characterizes him as a person who knows how to feel.
All the main characters respect each other. Question: why does everything end so badly? After all, there are no barriers to I.I. and Asya getting married and being happy. But it is precisely in this that the whole drama of Turgenev's story "Asya" lies.
I think that Turgenev wanted to show us true, real feelings in all manifestations in the story. He wanted to say that love is such a feeling that fills the whole soul of a person and makes him omnipotent. Nobody and nothing prevented N.N. and Asya from being together. N.N. is to blame for this situation. I think that N.N. had never before felt what he felt for Asa. He could not cope with his new feeling, and therefore, on a date with Asya, he so unexpectedly turns from a very loving person into an indifferent, unexpectedly cruel one.
My attitude towards all the characters in the story is different. To Asya is good, touching, sympathetic. To Gagin - indifferent.
And I regard N.N. as a person who has missed his happiness.
In the work, the emotional perception of the story is brought to the fore. The focus is on the theme of love, which has become the main one for the author of the work.
The student seeks to emphasize the "liveness", the unusualness of Asya in comparison with secular ladies. The position from which the characters are characterized is interesting. N. N. - Asya's "choice". Gagin is "ignored" by the author of the essay, apparently, as a hero who has no direct relation to the feelings of Asya and N.N.
The author of the work is not always able to choose the grammatically correct form for expressing thoughts, the work sins with repetitions, sometimes with speech clichés, behind which the inaccuracy of thought is guessed - its underdevelopment; emotions take precedence over thinking.
It is necessary to revive the essay with key quotes, give examples of episodes in which the characters of the characters are revealed.
Summing up the general result of the analysis of draft versions of essays, we note the following.
- 1. All works represent an independent reflection of the student on what he read.
- 2. Communication with the work of art took place: the students, in varying degrees of severity, entered into a dialogue with the literary text, characters, and the author.
- 3. The material of art has become an incentive for reflection on human characters and actions.
- 4. Students have learned the text well, actively use quotes.
- 5. Most of the works are distinguished by compositional and logical harmony.
- 6. The characterization of characters is given to students easily, but often it is “curtailed” in nature, which, we believe, is due not to ignorance of the material, but to the student’s haste in expressing his attitude to the hero; dislike for careful description, laziness.
- 7. Some key episodes and the musical leitmotif of the work were left without attention in some works.
- 8. Introductions and conclusions, on the whole, correspond to the topic, but they obviously do not create enough guidelines for dialogic reflection.
We will show how work on an essay can go, we will highlight the stages of work.
- 1st stage. Preparation for writing.
- 1.1. Explain to students the purpose of the work.
- 1.2. Selection of material: portraits of heroes, selection of episodes in which the characters' characters are most clearly revealed.
- 1.3. Writing out key words, quotes that help the author create images of heroes.
- 1.4. Identification of the author's position.
- 1.5. Determining your own attitude towards each of the characters. With a successful analysis of the work, this work turns out to be already done in the lesson (on the questions and tasks of the textbook, methodological recommendations for the topic). We outline questions that will help students in their work. It will be better if these questions are the result of a collective reflection on what you need to pay attention to when revealing the topic of the essay.
- 1) What attracted N.N. to Asa?
- 2) How does N.N. characterize himself at the beginning of the novel? How do we see the hero at the beginning and at the end of the story?
- 3) How are N.N. and Gagin similar and what distinguishes them?
- 4) At what moments does the hero feel happy?
- 5) How are the characters of the characters revealed during a date?
- 6) Why did N.N. do this? How does he explain his behavior?
- 7) Why does “happiness has no tomorrow”?
- 8) How does the author feel about his characters? Match the tone of the narrator at the beginning and at the end of the story.
- 9) Does my attitude towards the characters change over the course of the story? Which of the characters in the story is closer to me and why?
- 10) When does the music sound in the text? What role does it play in revealing the characters of the characters, the author's position?
- 2nd stage. Draft of the main body of the essay
- 2.1. Writing the characteristics of the main characters using selected material.
- 2.2. Expression of one's own attitude towards the characters.
- 3rd stage. Work on the composition of the main part
- 3.1. How will the characters be characterized?
- 3.2. Will the plan for characterizing each of them be the same?
- 3.3. In which part of the hero's characterization is it more appropriate to express the author's position and one's own attitude towards the hero?
- 4th stage. Writing an introduction and conclusion to a paper
- 4.1. Do the introduction and conclusion match the main body of the essay?
- 4.2. How are introduction and conclusion related?
- 4.3. To whom are the opening and closing words of the essay addressed?
- 4.4. Are the finale and the beginning of the work original or rather traditional?
- 5th stage. Editing a draft work
- 5.1. Does the writing style match the theme and genre of the work?
- 5.2. Are there any unreasonably long quotations, repetitions in the work?
- 5.3. Are the author's and reader's positions clearly expressed?
- 5.4. Does the essay have an addressee? (Reversal of speech).
- 5.5. What is the nature of reflections: a statement of the materials presented, reflection on them, the desire to include an imaginary interlocutor in the dialogue?
- 6th stage. Discussion of written work in class
- 6.1. Reading drafts of essays in class (fragments of works, separate compositional parts).
- 6.2. Reading 1-2 works. (Encouragement, remarks, recommendations).
- 7th stage. Essay writing
- 8th stage. Work analysis. Grade
- Svirina N. M. Literature Grade 8. Part 2: textbook / ed. V. G. Marantsmana.M. : Enlightenment. 2001, pp. 105-152.
- Svirina N. M. "Happiness has no tomorrow." The story of I. S. Turgenev "Asya" // Literature: methodological recommendations. Grade 8 / ed. V. G. Marantsman. M. : Education, 2004. S. 128-140.
Pushkin's story "The Captain's Daughter", written by the author in 1833-1836, shows the events of the Peasant War of 1773-1773. under the leadership of Emelyan Pugachev. Pushkin carefully collected historical material, worked in the archives, and interviewed surviving eyewitnesses. The story, written shortly before the death of Alexander Sergeevich, became a kind of summing up the results of the writer's creative activity. This work examines many (if not all) aspects of the life of a Russian person at the turn of the 18th - 19th centuries, but with special care, even scrupulousness, the author explores the topic of patriotism, the problems of honor and duty in people's lives, proceeding, at the same time, from the Christian understanding of the world happening with the main characters of the events.
The protagonist of the work is a direct participant in the events of the Peasant War, memoirist Pyotr Grinev. It is he who serves as a kind of model, a measure of all the positive qualities of a Russian person. His image is the image of a real Orthodox Christian, and in its entirety this image is revealed by the author in the conditions of the terrible, bloody and merciless Pugachev rebellion. It is shocks, hard trials and disasters that can reveal the “inner man”, understand, in the words of the famous musician Yuri Shevchuk, “what kind of people we are”. With all distinctness, this appears before us in The Captain's Daughter. Some, like Shvabrin, show cowardice under these conditions, while others, like Grinev himself, accept events "without bowing to them." We see that Grinev's upbringing plays a big role here. In general, it must be said that the external side of the upbringing of the young gentleman described in the story was, on the whole, typical of his time. Until a certain age, the child was educated by servants - serfs, uncles, who gave him the basic knowledge necessary for life, and then, for the further education of the barchuk, a tutor was hired, usually from abroad. Pushkin very expressively draws the image of the former soldier and hairdresser Monsieur Beaupré, who became Petrusha's tutor. The hero himself shows his "educational process" with undisguised irony, and therefore it may seem strange how such a brave, generous and fearless person could turn out of him. However, we see that with some outward estrangement of the parents, it was they who were able to invest in their son high spiritual qualities. A model for Peter is his father - a military officer, a man of duty and honor. It is he who lays in his son the main, key motives that will move him in the events that have fallen to his lot - the instruction to "serve the one you swear" and "cherish the honor from a young age." The father teaches his son a reverent attitude to military service, immediately knocking out of Peter the desire for an easy and cheerful life in the capital's guards regiment. The father wants to see his son as a real soldier, and not a drunkard and a rake. It is this moment that testifies to the high level of patriotism among the main characters. In the desire to bring as much benefit to the Fatherland as possible, Grinev Sr. sacrifices his own son to him, depriving him of a warm and carefree existence in the capital. At the same time, Grinev Jr. accepts this with humility, and without grumbling obeys the will of his father.
An honest and reverent attitude to the sovereign's service is manifested in the course of the story by other heroes. For example, Captain Mironov, the head of the fortress where Pyotr Grinev ends up serving, despite the external security and remoteness of the fortress, selflessly fulfills his duty, every day arranging exercises among a small garrison. His wife, Vasilisa Yegorovna, who, as the wife of the commandant, refuses to leave the fortress in the face of imminent death, wants to die soon with the brave defenders. The attitude to public service, to their Fatherland and the Tsaritsa, is manifested especially brightly by the heroes in the face of death threatening from the Pugachev rebels. Captain Mironov, who decided on a bold sortie, finds himself in the hands of the rebels and resolutely refuses to take the oath to the impostor, for which the rebels will be hanged on the gallows. Ivan Ignatich, faithful to his duty, follows his example, and Grinev, happily avoiding this fate, nevertheless, was quite ready for such a death, completely refusing Pugachev's oath.
The heroes of The Captain's Daughter throughout the story are driven by a high sense of morality, which becomes an integral character trait of positive characters. First of all, these are such concepts as honesty and sincerity. Mironov acts honestly, not wanting to stain himself with apostasy from the oath. Grinev honestly acts when he gives the lost money to Zurin, although, it would seem, one could dissuade himself from infancy and ignorance, finally refer to the scarcity of funds, but no! Heroes are honest with themselves and with their loved ones. And here the main feature of their behavior comes to the fore, its core is obedience to parents. King Solomon in the book of Wisdom says: "Whoever does not listen to his parents and blasphemes them is in darkness." And what does the famous Fifth Commandment of the Decalogue point to? Obedience to parents is equated in Holy Scripture with obedience to God. And here we see a striking confirmation of this in The Captain's Daughter - one can say that the final happiness of the main characters is due to their obedience: Masha does not marry Peter without parental will (which, most likely, would have turned into death for both her and Grinev ); following his father's blessing, Peter does not change his oath, and thus turns out to be saved from execution and hard labor. Even the fact that Grinev listens to his uncle Savelich, who in fact is not only Petrusha's tutor, but also his servant, can, albeit somewhat conditionally, be considered the same model of obedience.
In general, such a complex topic as the relationship between serfs and their masters appears in the story. And against the communist standard about the all-powerful, despotic master and oppressed peasants, the moral parallel Savelich - Grinev opposes. Of course, Peter does not always behave in a Christian manner towards the old man, but, nevertheless, he asks his forgiveness every time; Grinev is tormented by conscience in relation to the insults inflicted on him by Savelich. Savelich, in turn, is ready to lay down his life for his master. That is, in the relationship between a formally superior and a subordinate, we see the relationship of two spiritually related people who are close to each other. In all this, a pronounced Christian thread of high morality and morality can be traced.
In contrast to the positive characters are the heroes - antagonists. Here they are really, in the full sense of the word, "antagonists", for they represent a directly opposite way of thinking and behavior. This is the opportunist Shvabrin, whose behavior is a real "anti-patriotism." If for Grinev the people around him are most important in life, then Shvabrin is closed and focused only on himself, only his own life is dear to him. In addition, this is revenge, this is evil, which, in the end, will destroy him. As for the other antagonist, Pugachev, his image is quite romanticized by Pushkin, but, nevertheless, he is in the true sense of the word an “anti-hero”, because he is first of all a rebel, and rebellion is always opposition to the Divine Will, it is theomachism. And therefore, although possessing high spiritual qualities, this person ultimately becomes a symbol of the evil he brings - evil, not good.
In conclusion, I want to note that Pushkin touched upon in his work the concepts of rebellion and humility, which are fundamental for Russia and Russian people, as two completely opposite, polar concepts. Rebellion in the understanding of Orthodox dogma is theomachism, for it opposes the God-established world order. That is why it contrasts with faith in God and Christian humility, which are the key to a happy life.
Eldar Kostuev
2nd year student DDS
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HERO OF OUR TIME- Roman M.Yu. Lermontov. Written in 1839–1840, published in 1840. The events described in the novel take place in the 1930s in the Caucasus*, in a military fortress, in a resort, in a small provincial town on the Black Sea coast*. Main character… … Linguistic Dictionary
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