The story "Death" is remarkable, where the author depicted how a Russian person dies. He meets death calmly and simply, without internal struggle, anxiety and hesitation, without despair and fear. This reflects the healthy integrity, simplicity and truthfulness of the Russian soul.
The contractor Maxim dies, crushed by a tree. “Father,” he spoke hardly intelligibly (addressing the landowner who was leaning towards him): “for the priest ... send ... order ... The Lord punished me ... legs, arms, everything is broken. He was silent. His breath spiraled.
- Yes, give my wife money ... minus ... here, Onesimus knows ... to whom I ... what I owe. - Forgive me, guys, if in anything ... - God forgive you, Maxim Andreevich, the peasants began to speak in a dull voice: forgive us too.
The same amount of self-control, if not more, is shown by the miller, who came terminally ill to the paramedic for treatment. When he learns the hopelessness of his situation, he does not want to stay in the hospital, but goes home to arrange things and arrange things. "Well, goodbye, Kapiton Timofeich (he says to the paramedic, not obeying the convictions of that
stay): "do not remember dashingly, but do not forget the orphans, if anything." On the fourth day he died." This is how ordinary Russian people die, peasants. But it is remarkable that in the story "Death" the author talks about a similar calm attitude towards the death of the people of the lordly and intelligent environment - the old landowner, the half-educated student Avenir Sorokoumov.
The old woman wanted to pay the priest herself for her waste, and, kissing the cross given by him, she put her hand under the pillow to get the ruble bill prepared there, but before she had time "and breathed her last." The poor teacher Sorokoumov, sick with consumption and knowing about his imminent death, “did not sigh, did not lament, did not even hint at his position” ...
Turgenev says that when he visited him, the poor man, “gathering his strength, spoke about Moscow, about his comrades, about Pushkin, about the theater, about Russian literature; recalled our feasts, the heated debates of our circle, uttered with regret the names of two or three dead friends.
He even joked before his death, even expressed contentment with his fate, forgetting, out of kindness from his heart, how unattractive his life was in the house of a difficult joker landowner Gur Krupyannikov, whose children he taught Russian to Fora and Zezu. “It would be all right,” he said to his interlocutor after an excruciating fit of coughing, “if they let me smoke a pipe,” he added, winking slyly.
Thank God, lived enough; knew good people ... "The same attitude towards death and a simple peasant and an educated person testifies, at the direction of Turgenev, that folk principles are alive in Russian society, that we do not have a terrible internal discord in Russia between the common people and its cultural strata, at least to those of them who stand closer to the people, live in the countryside, or sympathize with the people's way of life, the people's need.
"Death" was published in Sovremennik No. 2 for 1848. The story entered the cycle of "Notes of a Hunter" and reflected the stories that happened to Turgenev during hunting wanderings, the family traditions of the Turgenevs. For example, the river Zusha, mentioned at the beginning, flows not far from Spassky-Lutovinovo. The lady, who was going to pay the priest for the departure prayer, has a prototype. This is Turgenev's grandmother Katerina Ivanovna Somova.
Literary direction and genre
Turgenev, as a realist, explores the features of the Russian character, highlighting a simple and cold attitude towards death as a national trait. The psychological story has the features of a philosophical essay, it is a kind of ode to death and to those who accept it with dignity.
Issues
The story is dedicated to one feature of the Russian people - the attitude to death as something ordinary and familiar. Turgenev analyzes various cases and comes to a generalization: an unusual attitude towards death is a feature of the Russian mentality. "The Russian peasant is dying amazingly... The Russian people are dying amazingly." The attentive reader will see behind the descriptions of various deaths the social reasons for such an attitude, but contemporary reviewers did not see them.
Plot and composition
The exposition of the story is the storyteller's visit to the forest where he used to walk as a child with a French tutor. The forest suffered from frosts in 1840. The method of contrast allows us to compare the former living and cool forest and the current dead one.
The narrator calls oaks and ash trees old friends and describes them as sick or dead people: “Dried, naked, in some places covered with consumptive greens ... lifeless, broken branches ... dead branches ... fell down and rotted like corpses, on the ground".
The exposition sets the reader up for discussions about human death, as quiet as the death of trees. Turgenev chooses different deaths: accidents (hit by a tree, burned), illness (he overstrained, died from consumption) and death from old age. The death of people of different classes and professions is described: a contractor, a peasant, a miller, a teacher, a landowner.
The death of the landowner is the climax, a kind of parable with a moral: “Yes, Russian people die surprisingly.” This refrain is the main idea of the story.
Heroes of the story
The author in the story is interested in the hero's encounter with death. The reason for reflection was the death of the contractor Maxim, who was killed in the forest by a falling ash tree cut down by peasants. In the death of Maxim (as well as other heroes) there is nothing ugly. Despite the fact that the branches of a falling tree broke Maxim's arms and legs, he almost did not moan, bit his blue lips, looked around "as if with surprise." The trembling chin, the hair sticking to the forehead, the unevenly rising chest make him look like a romantic hero in great excitement. He is really worried about the meeting with death, which, as he feels, is approaching.
But for Turgenev, what matters is not how the hero looks, but what he thinks and feels at the moment of death. Maxim's first thought is that he himself is to blame for his death: God punished him for telling the peasants to work on Sunday. Then Maxim disposes of the property, not forgetting the horse he bought yesterday, for which he gave a deposit, asks for forgiveness from the peasants. The narrator described the death of the Russian peasant in this way: “He dies as if performing a ritual: cold and simple,” but not stupidly or indifferently, as it might seem from the outside.
Another man, courageously waiting for death, is a neighbor's burnt peasant. The narrator is struck not so much by the behavior of the peasant as by his wife and daughter, who sit in deathly silence in the hut and also await death, so that the narrator "could not bear it and went out." At the same time, other family members treat the approaching death of a relative as something ordinary, they do not even stop their daily activities.
Lybovshinsky miller Vasily Dmitritch, who had a hernia, only on the 10th day came to the paramedic for help: “And should I die because of this rubbish?” Melnik utters an almost anecdotal phrase that it is better to die at home, where, in his absence, "God knows what will happen." The miller does not have any panic in the face of death, on the way home he bows to those he meets, and this is 4 days before his death!
The narrator describes the death of his friend Avenir Sorokoumov, who taught the children of the landowner Gur Krupynikov. Sorokoumov possessed a childishly pure soul. He rejoiced at the successes of his comrades, he did not know envy and pride. Avenir enjoys the days allotted to him: he reads his favorite poems, remembers Moscow and Pushkin with his guest, talks about literature and theater, and pities his dead friends. Sorokoumov is satisfied with the life he has lived, he does not want to leave and be treated, because "it does not matter where to die." Krupynikov announced the death of Sorokoumov in a letter, adding that he died "with the same insensitivity, without showing any signs of regret." That is, Sorokoumov took death for granted.
The situation of the death of an old landowner who tried to pay the priest for her own waste and was unhappy with the fact that the priest shortened the prescribed prayer looks completely anecdotal.
Stylistic features
The story is full of absurdities and paradoxes. The narrator's neighbor's cousin had a great heart, but no hair. In response to a French rhyme on the occasion of the opening of the Krasnogorsk hospital by the lady in the album, in which someone obsequiously called the hospital a temple, a certain Ivan Kobylyatnikov, thinking that it was about nature, wrote that he also loves her.
The sick are tamed in the hospital by a crazy carver Pavel, a dry-handed woman works as a cook, who is even more crazy than Pavel, beats him and makes him guard the turkeys. The absurdity at the plot level is the behavior of the dying landowner. But the most absurd thing is the veracity of all the incredible stories.
In an era when the moral principles and convictions of Turgenev were taking shape, when Turgenev was being formed as a citizen, the question of emancipating the peasants from serfdom was already coming to the fore. Little by little, voices were heard louder and louder, first hinting at the need for such a reform, then advising its introduction, and then directly demanding such a reform. Turgenev turned all his efforts against the most shameful phenomenon of Russian life - serfdom.
Turgenev is an excellent painter of the Russian world, and the plan he conceived, passing with a hunter's knapsack through various places and nooks and crannies of Russia, to acquaint us with many people and characters, was a complete success. We see this in the "Notes of a hunter".
What is the history of the creation of the cycle of stories "Hunter's Notes"? The first stories from this cycle saw the light at the end of the 40s of the 19th century, at a time when the foundations of serfdom were firmly held. The power of the noble landowner was not limited by anything, was not controlled. As a man, Turgenev saw in serfdom the highest injustice and cruelty; because of this, both mind and heart Turgenev hated serfdom, which for him was, in his own words, a personal enemy. He gave himself the famous "Annibal's oath" never to lay down arms against this enemy. The fulfillment of this oath became the "Notes of a Hunter", which are not only a socially significant work, but also have great merits from a literary and artistic point of view.
In 1852, The Hunter's Notes were first published as a separate edition.
What was the main goal pursued by I.S. Turgenev about the creation of this work? The main goal of the Hunter's Notes is to denounce serfdom. But the author approached the realization of his goal in an original way. The talent of the artist and thinker suggested to Turgenev that the focus should not be on extreme cases of cruelty, but on living images. It is in this way that the artist will reach out to the Russian soul, to Russian society. And he managed to do it to the fullest. The effect of the work of art was complete, amazing.
"Notes of a Hunter" is a cycle of 25 stories, otherwise they are called essays, from the life of serfs and landowners. In some stories, the author "revenges" his enemy (serfdom) very carefully, in others he completely forgets about the enemy, and remembers only the poetry of nature, the artistry of everyday paintings. It should be noted that there are many stories of this kind. Of the twenty-five stories, one can see a direct protest against serfdom in the following: “Yermolai and the Miller”, “Burgeon”, “Lgov”, “Two Landowners”, “Pyotr Petrovich Karataev”, “Date”. But even in these stories this protest is expressed in a delicate form, it is such an insignificant element along with the purely artistic elements of the stories. In the rest of the stories, no protest is heard; they illuminate the aspects of the landlord and peasant life.
The main theme of The Hunter's Notes is the fate of the peasantry in the era of serfdom. Turgenev showed that serfs are also people, that they are also at the mercy of complex mental processes, they are characterized by a multifaceted moral life.
The main idea of the "Notes of a Hunter" is "the idea of human dignity", of humanity. Serfdom is evil, it separated the peasants by an impassable abyss from the rest of human society, from intellectual culture in general. The peasant had to seek, by his own efforts and in his own environment, the satisfaction of the vital needs of the human soul. Around - people either indifferent or hostile to him. Next to him are the same "humiliated and insulted" as he himself. Anyone who, in any way, in his abilities and natural inclinations, stood out above the dark environment, must have felt a deep, painful loneliness. There is no one to take the soul with, no one to believe the deep feelings invested so inopportunely in the heart of a serf.
What is the characteristic feature of this large-scale work of Turgenev? First of all, it is necessary to note the complete realism of the "Hunter's Notes". This realism forms the basis of Turgenev's work. On the just instructions of Belinsky, Turgenev would not have been able to artistically describe a character that he did not meet in reality. Such a warehouse of creativity made it possible for Turgenev to reveal the universal essence of the peasant soul and draw two main peasant types: Khorya and Kalinich. In the story "Bezhin Meadow" he pointed out the same two main types in the children's environment: Pavlusha - the future Khor, Vanya - Kalinich. Having portrayed the peasantry and the landlord environment in a comprehensive manner, Turgenev took a major step forward towards realism, in comparison with the greatest of the realists who preceded him - Gogol. But Gogol saw reality in its own refraction. Turgenev, on the other hand, knew how to consider the same reality from all sides, and his life unfolds in its entirety. And with such a complete, comprehensive coverage of life, Turgenev shows perfect objectivity in the "Notes of a Hunter".
The Hunter's Notes does not, however, represent a direct attack on serfdom, but deal it a severe blow indirectly. Turgenev portrayed evil as such, not with the explicit purpose of fighting it, but because he saw it as disgusting, outraging the sense of human dignity. The consequence of his realism and objectivity is the depiction in the "Notes of a Hunter" types of positive and negative, attractive and repulsive, both in the peasant environment and in the landowners. At the same time, Turgenev needed to have a high degree of observation. Such observation was noted in Turgenev by Belinsky, who wrote that Turgenev's talent is to observe phenomena and convey them, passing through his fantasy, but not relying only on fantasy.
Thanks to his powers of observation, Turgenev described to the smallest detail his characters and their appearance, both moral and external, in everything that was characteristic of them both in clothes and in a manner of expression and even in gestures.
"Notes of a hunter" have a high artistic merit. They represent a complete and vivid picture of Russian life, depicted as it flowed before the author. And this truthful picture led the reader to the idea of injustice and cruelty prevailing in relation to the people. A major artistic merit of the "Notes of a Hunter", in addition to their impartiality, lies in the completeness of the picture drawn in them. All types of modern Russia to Turgenev are covered, both attractive and repulsive faces are outlined, both peasants and landowners are characterized.
The outward merit of the Hunter's Notes is the power of influence they have on the reader, thanks to the language in which they are written, and, especially, the liveliness and beauty of the descriptions. As an example of such descriptions, we can point to the scene of the singing of Yakov the Turk; the reader, together with the author, experiences everything that this singing inspired in the listeners, and one cannot help but succumb to the poetic charm of the memories of the swan, inspired by the singing of Yakov. No less poetic and powerful in their impact on the reader's soul are the descriptions found in the stories "Dating", "Bezhin Meadow", "Forest and Steppe".
All the merits of the "Notes of a Hunter" as a work of art, in connection with the highly humane ideas that imbued the stories, ensured their lasting success not only among Turgenev's contemporaries, but also among subsequent generations.
and Kalinich. Singers. Bezhin meadow.
1. Anti-serfdom theme in "Notes of a hunter".
2. Features of the Russian national character in the characters of the cycle.
3. Genre originality of stories.
4. Landscape and its role in stories.
The story "and Kalinich"- the first of the future cycle - appeared in the first issue of the Sovremennik magazine for 1847. It was the first issue prepared by the new owners of the magazine, Nekrasov and Panaev. Then the editors failed to appreciate Turgenev's story: it was printed in small print in the "Mixture" section with the subtitle "From the Notes of a Hunter" (thus the name of the cycle was suggested to Turgenev by the magazine). The great success of the story with readers inspired the author, and during 1847, while abroad, he wrote 13 more stories. Turgenev worked on the cycle from 1847 to 1851, and by 1852 he prepared a separate edition of the Hunter's Notes.
"Notes of a hunter" gives a picture of rural and estate life, reveals the relationship of landowners and serfs. But the close attention of contemporaries was primarily ensured by their anti-serf orientation. The authorities also reacted to their appearance, seeing in the stories a dangerous social trend. Nicholas I ordered the dismissal of the censor Prince, who missed the “Notes of a Hunter”, to be dismissed. Lvov "for negligent performance of his position." Turgenev was placed under police surveillance. The social significance of the stories and essays of the cycle consisted not only in exposing the feudal landlords (one of the high-ranking officials said that the landowners "are generally presented in a funny and caricatured or, more often, in a form reprehensible to their honor"), but also in the depiction of peasant types . The author feels sympathy for people from the people, the plight of the Russian people arouses his sympathy.
"Hunter's Notes" antiserf work. Turgenev exposes serfdom as an ugly system that gives rise to cruel or worthless landowners, corrupts the soul, hinders the economic and spiritual development of Russia. The author himself defined the main idea of the Hunter's Notes as follows: “I could not breathe the same air, stay close to what I hated ... In my eyes, this enemy had a certain image, bore a well-known name: this enemy was serfdom. Under this name, I collected and concentrated everything against which I decided to fight to the end, with which I swore never to reconcile ... "The stories are connected in a cycle by the unity of the ideological content and the compositional device - the image of the narrator, passing through all the stories. The narrator is a hunter, a local landowner who knows his land well, and most importantly, is deeply interested in the life of the people he meets in his hunting wanderings.
"and Kalinich" is a program work of the cycle, in which its main ideas are outlined, the form of Turgenev's "hunting" story is tested. The plot in it is sketchy in nature: the place of action is accurately indicated and described - the Volkhov and Zhizdrinsky districts of the Oryol and Kaluga provinces. The arguments at the beginning of the story about the types of Oryol and Kaluga peasants, built on the principle of antithesis, as if not connected with the plot of the story, have not only an ethnographic, purely essay value. They set a topical social theme - the difference between corvée and quitrent peasantry. There is no event-driven development of the action in Chora and Kalinich. The story shows the meeting of the hero-narrator with the landowner Polutykin and his serfs Horem and Kalinich. The image of the narrator plays an active role in the story: the narrator comments on the behavior of the characters, expresses his attitude towards them. It is in a dialogue with him that socially significant typical characters are revealed. Sometimes minimal artistic means are enough to create a character for an author. So the character of Polutykin is quite definitely clarified by his surname - he is, indeed, a useless, stupid owner, a ruined landowner.
The main interest for the narrator is the peasants and Kalinich, whose comparative characteristics allow the author to reveal two types of the Russian peasant, to show different facets of the Russian national character. The images of the landowner and his serfs are contrasted: there is no direct conflict between them, but a deep difference in the moral world and life position is obvious. And not in favor of the landowner. Peasants are extraordinary people. One is an excellent practitioner, the other is a poetic nature. The journalistic beginning of the story - discussions about corvée and quitrent peasants - is developed in the images of the central characters.
- "a positive, practical person, an administrative head, a rationalist." He sought permission to switch to quitrent and, in fact, is economically independent. - the type of an intelligent, active, enterprising Russian person, able to boldly go towards the new, however, his capabilities are limited by the ugly serf system. In revealing the image of Khory, the main role is played by the author's descriptions of his estate, hut. Substantive details, the material world are expressive. They show the strength of his economy, reliability, stability of life, allow you to see in the Choir the creative creative principles of the Russian national character. The portrait of Khory significantly complements our understanding of him. In his figure, the author emphasizes solidity. This "shouldered and thick" man stands firmly on his feet. And the comparison of his face with the face of Socrates (“the same high, knobby forehead, the same small eyes, the same snub-nosed nose”) expresses respect and sympathy for the author and at the same time enhances the anti-serf pathos of the story. But this smart, strong man is in the position of a slave. This is the reality of Russian reality.
Kalinich- the complete opposite of Khoryu externally and internally. He is "a man of the most cheerful, most meek disposition", an exalted nature. Being completely dependent on the landowner, every day he must accompany him to hunt. He completely abandoned his own farm. Kalinich is close to nature, touching in his affection for Khor: he brought him a bunch of wild strawberries. Contrasting the heroes, the author sees in each of them remarkable features of the national character.
The story "Singers", written in the early 50s, combines essay and novelistic features. And although the narration is conducted on behalf of the narrator and contains essay elements, the plot of the story is based on an event. The competition of singers is the central part of the story. In the story, in addition to the main characters - Jacob the Turk and the hawker from Zhizdra - there are many other heroes that make up a picturesque multi-figured composition. Artistic means of revealing character are enriched. In addition to expressive portrait details, author's characteristics, Turgenev gives a story about the past of the heroes (such is the life story of Mogarych, Oboldui). The idea of the characters deepens with the movement of the plot. The epic background of the main event carries an important ideological load.
Turgenev showed in the story an extraordinary Russian talent. The creative spiritual principle in the "best singer of the neighborhood" Yakov-Turk wins over the vocal skills of the self-confident row-cropper. Showing the listeners frozen in excitement, the narrator, as it were, merges with them and conveys in his words the experiences and feelings that engulfed everyone: “He sang, completely forgetting both his rival and all of us ... A Russian, truthful, ardent soul grabbed your heart , grabbed right by his Russian strings. The song choice is significant. The song "Not one path in the field ran ..." is really in tune with the fate of the Russian people. It contains “youth, and strength, and sweetness, and some kind of captivatingly sad sorrow.”
Turgenev is a realist, he does not idealize the hero: in the final part of the story, the author sees an ugly general drunkenness. And Yakov, who had recently soared in spirit, shocked everyone with his marvelous singing, like everyone else, plunged into the darkness of heavy revelry. The writer does not avoid details that reduce the image of the hero: “He sat bare-chested on a bench and, singing in a hoarse voice some kind of dance, street song, lazily plucked and plucked the guitar strings. Wet hair hung in clumps over his strangely pale face. Nothing remained of his soulful excitement. The ugly reality has a destructive effect on the fate of talent in Russia, and this is yet another verdict on serfdom.
"Bezhin Meadow"- a poetic story about Russian nature and a child's soul. In this story, the sketchy beginning gives way to a lyrical narrative. Turgenev is interested in the moral world of people from the people. With great sympathy, the author recreates the images of five peasant boys who gathered around the fire on a July night and tell each other scary stories. Nature in Bezhin Meadow ceases to be the background of action, it becomes a means of indirect characterization of the characters. Pictures of summer nature, framing the story, are full of lyrical expressiveness and, as it were, inspire the characters of the boys. And their fantastic stories, legends, and beliefs are full of vivid imagery and poetry. The mysterious world of their fantasies, the world of nature and the real world merge into a single whole in the souls of the boys. The soul of the people, akin to nature, is poetic and mysterious.
In the "Notes of a Hunter" I.S. Turgenev acted as an artist of acute social anti-serfdom problems and revealed the features of the national character in living peasant types. The role of descriptions of nature in stories is great. Nature is a means of revealing the character, inner world and state of mind of the characters.
Ministry of Education and Science of the Russian Federation
State Educational Institution of Higher Professional Education
Orenburg State Pedagogical University
Faculty of Philology Department of Linguistics and Methods of Teaching the Russian Language
Course work
on the topic: Analysis of the collection of stories by I.S. Turgenev "Notes of a hunter" in the positional aspect
Orenburg 2010
INTRODUCTION
The aim of the work is to study the collection of short stories by I. Turgenev "Notes of a Hunter" in the positional aspect. To achieve it, the following tasks were set:
Consider the "Notes of a Hunter" from the point of view of the positional use of the image of nature in them;
Analyze each episode with a description of the image of nature;
Establish the location of each episode and its connection with the rest of the stories;
Make a conclusion about the role of each episode with the image of nature in the collection.
Select episodes depicting nature, establish their length and localization in the text of each story and in the cycle.
The subject of the research is the image of nature in the collection of short stories by I. Turgenev "Notes of a Hunter".
CHAPTER 1. STUDY OF THE TEXT COMPOSITION IN THE POSITIONAL ASPECT
The main function of the language is the communicative function, this main function is performed by the language through the message - texts designed through the language. A literary text, being a work of art - literature - unlike other texts, does not perform a communicative function in its purest form. In order to satisfy the spiritual aesthetic need, the artistic text ignores reality, choosing in it only what is necessary to express a certain idea, an artistic problem. This idea is the main organizing core of a literary text. Understanding an idea is not always easy, and linguistic analysis can help here - the study of the material form of a literary text, in which the artistic idea is “encoded”, encoded [Korbut-3; 76].
1.1 The concept of linguistic analysis
Linguistic analysis is a special system of teaching techniques for decomposing a text into its constituent parts, studying them, comparing, comprehending, and then understanding the literary text in the unity and interconnection of all its elements [Korbut-4; 76].
Linguistic analysis allows us to see the organic constructive links between the courses of literature and the modern Russian language. Two main stages of linguistic analysis: analysis and synthesis. It is better to start with the analysis of the elements, then draw a conclusion about the influence of the elements on the content - synthesis. Linguistic analysis also includes some aspects of other types of analysis. The literary aspect - the comprehension of a literary text as a fact of social thought - can be connected at the stage of synthesis. The stylistic aspect - understanding the violation or non-violation of the norms of the literary language of the modern era and the era corresponding to the time the work was written, is necessary at the stage of analysis. The most complete analysis of a literary text is general philological, such an analysis includes all known types of analysis: linguistic, literary criticism, and historical.
In linguistic analysis, a literary work is considered “as a source of impressions for the reader” (Arnold), who experiences certain feelings, regardless of either the personality of the author or public opinion. What linguistic units, arranged in what sequence, contribute to the impression? - these are the main questions that are posed in linguistic analysis [Korbut-4; 76].
The composition of the artistic text. From a linguistic point of view, composition is a way of arranging and connecting linguistic units of different levels in a coherent linear structure of a literary text. The composition is a harmonious unity of form and content.
B.A. Uspensky proposed to consider the linguistic composition of a literary text as a system of intratextual points of view. The point-of-view system includes the points of view of the author(s), the characters, and sometimes the supposed points of view of the readers.
In the composition, two types of speech can be distinguished - direct and indirect. Direct speech is formally distinguished by quotation marks (or dashes). Letters, diary entries, articles from newspapers and magazines can also be attributed to direct speech, they enhance “reliability” [Korbut-22; 76].
Among indirect speech A.Yu. Korbut identifies two main ways of narration. Objective narration (objective speech) and subjective narration.
“The compositional units of a literary text,” writes A. Yu. Korbut in his work “Linguistic Analysis of a Literary Text,” in the aspect of points of view are all elements that change the type of narration: direct speech, writing, dream, document, diary, newspaper material, subjective speech of the author, etc.
The dynamic aspect of the composition. The compositional unit of a literary text in a dynamic aspect is the type of speech: narration, description, reasoning in the author's speech. Most of the large literary texts are fictional narratives with the inclusion of other types of speech [Korbut-27; 76].
Symmetrological aspect. The next aspect of the composition of a literary text is associated with the strong positions of the text, its proportions and types of symmetry in it. Thus, the analysis of the composition in this aspect allows us to see the manifestation of the laws of symmetry in the linguistic structure of a literary work. The most important manifestation of the laws of symmetry in a literary text is the golden section, which is called the harmonic center. The first level of the golden ratio divides the text into two unequal parts by a factor of 0.618. This is the point of the golden ratio, or the harmonic center. The harmonic center is a strong position of the text.
The second level of the golden section proportion highlights the absolute beginning of a literary text. This is a part of the text, including the title, epigraph, if any. Its coefficient is 0.146, which is approximately the first 15% of the text. The absolute beginning is also a strong position of the text.
The absolute end is the final strong position of the artistic text, calculated by the proportion of 0.944, which is approximately the last 6% of the text. Here the psychological tension is removed, the conflict is resolved. In addition to these strong positions, there are proportions-borders that can be attributed to the weak positions of the text.
Absolute start - the first strong position of the body of the text, has a graphic emphasis on the left (space). The absolute beginning performs an introductory function: it represents time, place, determines the way of narration (or a combination of different ways), contains the plot of events, represents the most important linguistic elements that will be repeated further. Harmonic center - a strong position that does not have a graphic highlight, is perceived unconsciously.
The absolute end is a strong position that has a graphic highlight on the right. This strong position includes an event denouement. In our case, one story (“Lgov”) has such a strong position.
Strong positions and their functions. A strong position is the most effective point of a literary text, the perception of which combines a high degree of memorability and readiness to perceive subtext. The start zone, or start, includes two strong positions: the title and the absolute start. The title forms a title zone - a set of elements graphically separate from the rest of the text. The title zone includes subtitle, genre, epigraph [Korbut - 29-34; 76].
The primary compositional feature of a literary text is its linearity - the units from which a literary text is built can be built in one way: one after the other, in a line. Therefore, the sequence of arrangement of parts, chapters, chapters, paragraphs or stanzas, sentences or lines, words is the most important aspect of a literary text. A literary text lives only while it is being read, and its first contact with the reader is made through the title (3). The next "step" in the perception of a literary text is the epigraph (if any). An epigraph is a quotation (literary or folklore) highlighted with spaces, like a heading and subheading, graphically separated by an offset to the right. Expresses the main artistic problem of the whole work or part of it, thus highlighting the content core of the literary text [Korbut - 34-38; 76].
CHAPTER 2. ANALYSIS OF THE COLLECTION OF I.S. TURGENEV'S "NOTES OF A HUNTER" FROM A POSITIONAL POINT OF VIEW
The Hunter's Notes is a cycle of twenty-five small prose works. In their form, these are essays, short stories and short stories. Essays (“Khor and Kalinych”, “Odnodvorets Ovsyannikov”, “Raspberry Water”, “Swan”, “Forest and Steppe”), as a rule, do not have a developed plot, contain a portrait, a parallel description of several heroes, pictures of everyday life, landscape, sketches of Russian nature. The stories (“My Neighbor Radilov”, “Office”, “Hamlet of the Shchigrovsky District”, etc.) are built on a certain, sometimes very complex plot. The whole cycle is told by a hunter who tells about his observations, meetings, adventures.
In the 40-50s of the XIX century, I. S. Turgenev created a number of small prose works, combined in one collection called "Notes of a Hunter". Unlike most writers of that time, who depict peasants as a faceless gray mass, the author in each essay notes some special feature of peasant life, therefore all the works combined in the collection gave a vivid and multifaceted picture of the peasant world. This cycle immediately brought fame to the author. In all stories there is one and the same main character - Peter Petrovich. This is a nobleman from the village of Spassky, an avid hunter. It is he who tells about the incidents that happened to him during his campaigns. Moreover, Turgenev endowed him with observation and attention, which helps the narrator to more accurately understand various situations and more fully convey them to the reader.
Passionately in love with nature, Turgenev made extensive use of descriptions of nature in his Notes of a Hunter, which constitute the brightest pages in the history of the Russian literary landscape. Turgenev treated nature as an elemental force living an independent life. Turgenev's landscapes are concrete and fanned by the experiences of the narrator and the characters, they are dynamic and closely connected with the action.
In order to determine what role each episode with the description of nature plays for the entire collection, we first understand what nature is in the broad, generally accepted sense.
The Free Encyclopedia gives this definition of nature. Nature - the material world of the universe, in essence - the main object of study of science. In everyday life, the word "nature" is often used in the meaning of the natural habitat (everything that is not created by man).
V. I. Dal understands this concept as “nature, everything material, the universe, the whole universe, everything visible, subject to five senses; but more our world, the earth, with everything created on it; is opposed to the Creator... All natural or natural products on earth, the three kingdoms (or, with man, four), in their original form, are opposed to art, the work of human hands.
The philosophical dictionary has the following definition of nature. Nature - in a broad sense - everything that exists, the whole world in the variety of its forms; is used in the same row with the concepts: matter, universe, universe. 2) The object of natural science. 3) The totality of the natural conditions for the existence of human society; ""second nature"" - the material conditions of his existence created by man. The implementation of the exchange of substances between man and nature is the law that regulates social production, the condition of human life itself. The cumulative activity of society has an increasingly noticeable impact on nature, which requires the establishment of their harmonious interaction.
As you can see, all definitions clarify that nature is everything that is not created by man. For Turgenev, nature is the main element, it subjugates a person and forms his inner world. The Russian forest, in which “stately aspens babble”, “a mighty oak stands like a fighter, next to a beautiful linden”, and the boundless steppe are the main elements that define the national features of a Russian person in the “Notes of a Hunter”. This is perfectly in line with the overall tone of the cycle. The true salvation for people is nature. If in the first essay-prologue the narrator asked to pay attention to the peasants, then the final story is a lyrical confession of the author's love for nature, "fur sich", as he himself jokingly says, saying goodbye to the reader. For Turgenev, nature is the repository of everything and everyone. At the same time, all descriptions of nature are divided into two groups: external manifestations of nature (landscape objects, animals, weather and natural elements) and hidden or implicit (human activity associated with nature, the influence of nature on the life and life of a peasant).
It was quite fashionable to call this book a book about nature and about man in nature. Even if the characters do not relate to nature, all the same, the story about them cannot do without the landscapes mentioned at least in passing. It is no coincidence that the collection ends with a poetic hymn to nature "Forest and Steppe". Undoubtedly, the main aesthetic link in all short stories is the narrator, the "strange man". And the main thing in it is that the image is given outside of social civilization, as a man of nature, inextricably linked with it. His soul, his spiritual world are filled with nature. And through this natural and aesthetic prism, all the stories about which he tells are refracted. Turgenev "came to the recognition of the inclusion of the human personality in the general flow of world life, to the recognition of the unity of man and nature."
Such a unity of the “strange hunter” with nature, such an aesthetic unity of the “Notes of a Hunter” through numerous landscapes recalls the teachings of Jean-Jacques Rousseau about the “natural man”. Turgenev, following Rousseau, argues that nature created all people equal and only social institutions create the problem of social inequality. Public lack of freedom distorts the natural, natural essence of a person, morally cripples him. The drama of man is, according to Turgenev, that he has fallen out of the unity of nature. Turgenev considers the problem of "natural man" in the philosophical, universal moral aspect. Falling out of the natural unity of a person makes him either morally ugly or completely unhappy. And Turgenev in "Notes of a Hunter" tries to show how morally beautiful the "natural man" associated with nature is.
As a "material" for linguistic analysis in our work, we have chosen a collection of short stories "Notes of a Hunter" by I. Turgenev. We study this collection from the standpoint of the composition of a literary text.
Turgenev's stories almost all contain direct speech and dialogues. A special exception is the story "Forest and Steppe", in which the author conducts an invisible dialogue with the reader, there is no direct appeal to any person, there is no formal emphasis on direct speech (quotation marks), the dialogue does not carry a special semantic load.
The entire collection of Turgenev is a subjective narrative, since there is a direct author's assessment of events, characters, the narrating author judges only what is known to him; the widespread use of words with the main emotional and evaluative meanings such as “love”, “good person”: “As a hunter, visiting Zhizdrinsky district, I met in the field and met one Kaluga small landowner, Polutykin, a passionate hunter and, therefore, an excellent person” ("Khor and Kalinich").
Subjective narration expresses directly the author's point of view, which is often polemical in relation to the reader's point of view. In this sense, Turgenev does not force the reader to think in the same way as he does; his unobtrusive narration gives the reader the opportunity to evaluate the described person or events.
In the collection of short stories by I. Turgenev, there is a synthesis of all three types of speech: “Wealthy landowners lived in these mansions, and everything went their own way, when suddenly, one fine morning, all this grace burned to the ground. The gentlemen have moved to another nest; the homestead was deserted. The vast ashes turned into a garden, in some places cluttered with piles of bricks, the remains of former foundations. From the surviving logs, a hut was hastily knocked together, covered with baroque wood, bought ten years in advance to build a pavilion in the Gothic style, and settled in it the gardener Mitrofan with his wife Aksinya and seven children. Mitrofan was ordered to deliver greens and vegetables to the master's table, a hundred and fifty miles away; Aksinya was entrusted with the supervision of a Tyrolean cow, bought in Moscow for a lot of money, but, unfortunately, devoid of any ability to reproduce and therefore has not given milk since the purchase; in her arms they gave a crested smoky drake, the only "lord's" bird; children, due to their infancy, were not assigned any positions, which, however, did not in the least prevent them from becoming completely lazy ”(“ Raspberry Water ”); “I looked around. We rode across a wide plowed plain; in extremely gentle, undulating rumbles, low, also plowed hills ran into it; the gaze embraced only some five versts of deserted space; in the distance, small birch groves, with their rounded-toothed tops, alone broke the almost straight line of the sky. Narrow paths stretched across the fields, disappeared into the hollows, twisted along the hillocks” (“Kasyan with the Beautiful Sword”); “Hunting with a gun and a dog is wonderful in itself, f ur sich, as they used to say in the old days; but, let's say, you were not born a hunter: you still love nature; you, therefore, cannot but envy our brother ... ”(“ Forest and Steppe ”).
stories of the collection ("My neighbor Radilov", "Bezhin meadow", "Date") begin with a description of nature. Here the stylistic dominant of the literary text is formed, the time and place of action are presented.
All stories in Turgenev's collection are titled. They can be divided into two groups. The first group includes stories that have a name (or proper names) in their title. These can be names, surnames, nicknames of people, geographical objects (names of villages and cities). This group includes 15 stories: “Khor and Kalinich”, “Yermolai and the Miller’s Woman”, “Raspberry Water”, “My Neighbor Radilov”, “Ovsyannikov’s Odnodvorets”, “Lgov”, “Bezhin Meadow”, “Kasyan with a Beautiful Sword” , "Biryuk", "Swan". "Tatyana Borisovna and her nephew", "Pyotr Petrovich Karataev", "Hamlet of the Shchigrovsky district", "Chertop-hanov and Nedopyuskin", "The End of Chertop-hanov". From the name it becomes clear where the event will take place or who the story will be about. The second group consists of stories that have common nouns in their titles: “County doctor”, “Burgeon”, “Office”, “Two landowners”, “Death”, “Singers”, “Date”, “Living relics”, “Knocks” , "Forest and steppe". Despite the fact that in these titles there is no direct relation to the person or place of action, it is still not difficult to guess what the story will be about. Being in the linguistic aspect a word, phrase or sentence, the title answers one of the topical issues of the literary text. Who? What? "Pyotr Petrovich Karataev", "Death"; Where? "Lebedyan", "Bezhin meadow", "Office"; What's happening? "Date", "Knocks", etc.
Turgenev practically does not use epigraphs in his collection. Is it possible to consider the stories "Living Powers" and "Forest and Steppe" as an exception. From the epigraphs, you can immediately understand who or what will be discussed:
Land of native long-suffering -
The land of the Russian people!
F. Tyutchev. ("Living Relics").
And little by little start back
Pull him: to the village, to the dark garden,
Where the lindens are so huge, so shady,
And lilies of the valley are so virginally fragrant,
Where are the round willows above the water
From the dam they leaned in succession,
Where a fat oak grows over a fat cornfield,
Where it smells like hemp and nettle...
There, there, in the open fields,
Where the earth turns black with velvet,
Where is the rye, wherever you throw your eyes,
It flows quietly with soft waves.
And a heavy yellow beam falls
Because of transparent, white, round clouds;
It's good there
(From a poem burnt) ("Forest and Steppe").
The entire collection of stories by I. Turgenev can be presented in a table where you can clearly see how many words are in a single story and in each of the episodes. For convenience, we have divided episodes in each story with a description of nature and without a description. From the table it is clear how many episodes and what their size is.
linguistic analysis Turgenev's story
Table 1 - Number of words in episodes
TOTAL NUMBER OF WORDS WITH DESCRIPTION OF NATURE WITHOUT DESCRIPTION OF NATURE AND KALINYCH36021. 137 WORDS1. 73 WORDS2. 3 392YERMOLAI AND MELNICHIKHA 31841)2121) 222)952) 10343)263) 3094)304) 14505) 6MALINOVAYA VODA2 6801) 1301) 1032) 1162) 18253) 507UYEZDNY LEKAR2 9 67MOY NEIGHBOR RADILOV2 3101) 1211) 2002) 1222) 1867ODNODvorets OVSYANNIKOV5 161LGOV2 9531 ) 1601) 572) 1092) 17803) 393) 684) 314) 4575) 265) 227BEZHIN LUG5 9391) 3131) 902) 182) 1133) 273) 554) 1204) 885) 565) 656 ) 466) 157) 887) 1338 ) 368) 889) 1889) 294510) 8310) 104811) 10911) 912) 5212) 4913) 8113) 124) 2944) 895) 755) 8276) 936 ) 437) 1348BURMISTR3832KONTORA4410BIRYUK20751) 1161) 412) 1918TWO LANDSHIPS2506LEBEDIAN3156T.B. AND HER NEPHEW34691) 1251) 102) 3334DEATH33131) 3201) 2972) 2696SINGERS52031) 1381) 272) 802) 4473) 1013) 644) 284) 8415) 455) 24776 ) 706) 4007) 947) 168) 376P.P.KARATAEV4195SVIDANIE25891) 5291) 18702) 1672) 24HAMLET SHIGROV. UYEZDA7495CHERTOPKHANOV AND NEDOPYUSKIN4894END OF CHERTOPKHANOV9316LIVING RIGHTS41201) 381) 1152) 782) 1783) 3702STUTCHIT3741LES AND S TEP18131) 16521) 1392) 22
But according to this table it is impossible to determine where the episodes with a description of nature are located. For this, a linear model of a literary text is used - a segment of a straight line, divided into proportions with marked strong positions. Each story in the text has its own linear model [Korbut - 33; 76] (Appendix 1.).
Through mathematical calculations, we can find the coordinate for any episode. We will present the result of these calculations in a table (in electronic form), where each episode is separately numbered and has two values - the beginning and the end, indicated by units. The remaining coordinates that are not related to this episode with a description of nature are indicated by zeros.
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